BÜDDAH - INTERVIEW

1. Büddah started around 2022. What led you to create the band? Why did you choose the name Büddah, and what does it refer to?

J: I've told this story like a milion times over the past four years. And I don't really like going back to those memories. To be respectful I'll just say that everything before 2023 was just random decisions, random people. 

2. In 2022, you made your debut with "The Curse of Ferrius," your first EP. However, until the release of "Amyotrophy," your first album, and in the four years between the two releases, the band's lineup underwent continuous changes. Tell us, what were these years like within Büddah leading up to the release of "Amyotrophy"? Can the current lineup be considered fully established?

J: My friendship with Marek feels like an old marriage. A toxic one. But old and stubborn. I don't  see a way it can change any-how in the future. Before Marek this band has been a long, neverending turmoil filled with my mistakes, alcohol, drugs and lack of direction. 

3. “Amyotrophy” was recently released. What was the songwriting and recording process like for this debut album? What aspects do you think have changed compared to “The Curse of Ferrius”? What brands of instruments did you use?

J: Recording “Amyotrophy” was a mixture of good food, laugh, staying up all night playing Hereoes of Might and Magic III and absolute horror realising I am too dumb for this music. With “Curse of Ferrius” there was zero atmosphere, because we recorded our tracks on different days each musician. It was much easier for me on the technical level, because the material on “Curse of Ferrius” is much simpler and closer to my personal taste, but zero fun and chilling with friends. 

M: Ibanez. Nothing I would like to add. 

4. In the past, when describing your music, a style like black metal often came up, but it wasn't something you entirely agreed with. For the new album, it seems that death metal has taken center stage, even with some thrash influences. How would you describe the album's sound to someone who hasn't heard it yet? What bands or styles influenced the album's composition?

M: Probably the most accurate answer would be “Death metal with identity crisis and paranoid schizophrenia” but we would much rather describe it as a love letter to the genre as a whole. For this album we wanted to both redefine our sound but also distil it from the plethora of albums and artists that inspire us. Throughout most of the creative process, whenever we came up with something both listenable and falling into a category of music that we enjoy, we simply turned it into a full-fledged piece, not really caring for cohesion of the entire album – this common element binding all the songs would eventually turn out to be folk instrumentation and bass guitar always adding almost a bit too much to the composition.

5. Your lyrics also seem to have taken on a more human character—dark, yes, but with a title like “Amyotrophy,” we can get an idea of ​​their nature. Why this title and theme for the album? Were the lyrics adapted to the music, or vice versa?

J: This album is a summary of what has been happening in my emotional landscape in years  2022 – 2025. There was no other word fitting better to summarise it than “Amyotrophy”. 

6. The album has been released by Godz ov War Productions in both CD and digital formats. How was the decision made to release “Amyotrophy” through Godz ov War Productions?

J: It felt like being hit with a hammer. We could not belive it's happening. In the past our we didn't get any approval in the underground. Pressing this album in a label, that we've always dreamed of feels fantastic. We had sent the material, weeks later we were signed to Godz Ov War. 

7. The names Damian Bednarski and Marcin Skowroński appear linked to the mixing, mastering, and recording process of the album. Who are these people, and why did you decide to work with them?

J: I've worked with them during the recording of Grilled Witch, my sludge/hardcore side project. 

I've been friends with Sfenson for many years. 

8. You designed the album cover. What can you tell us about it? How does it relate to the album's content?

J: It's a half-concious depiction of energy that I connect with the lyrics and music. In my paintings I don't really do sketches or projects. Just paint by heart, trying to depict how I feel. 

9. You come from a country like Poland, which has a strong tradition in extreme metal. How do you think this legacy has influenced the band and your sound?

J: We like polish bands but we don't really get inspired by them. Ofcourse we admire them and probably seen Vader more times than a decent paycheck after one of our own shows. In spite of it I can't really draw a direct line between music of polish legends and ours.

10. On another note, you're a band where I imagine playing concerts is important, as evidenced by the 2024 release of the live album "Resurrection Clarity (Live at 2 Koła '24)." How does Büddah operate on stage? What can your fans expect from one of your concerts? What concert plans do you have to present the new album?

M: It’s pretty much a completely different band. We have different goals we are trying to achieve while recording music and while performing it live. Studio is the place where we can experiment and shape our music without the obvious boundaries. Folk instrumentation? Sure. Two basses playing simultaneously? Of course. But as a matter of fact, I do not have two pairs of arms (despite deeply wishing for it!), so we had to translate our music to completely different “stage language”. In this case – simplicity and energy. We play with only one guitar – this way we can encourage more interactions between ourselves and our public. Some of our parts are brutalised, yet we did not abandon our semi-technical style. So far, we really like it this way – and it seems that our public also enjoys this a bit more organic take on our material.

11. How did you get started in music? What were the first concerts you attended? What were the first albums you bought? What event in your lives pushed you to become musicians?

J: Hatred and depression. 

12. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

M: The latest album I bought was the new offering by our good friends from Pandemic Outbreak. Definitely check them out. When I think of black metal, of pure black metal, I think of music that exhibits inner hostility. It is not music to derive positive emotions from, it is not adventurous, it is not beautiful in the black metal way (despite how much I love bands like Moonsorrow, Emperor or Immortal). In short – it must conjure a deep feeling of dealing with something inherently evil, corrupting and otherworldly. This essence, this feeling is perfectly preserved in Deathspell Omega’s “Paracletus”. And now let’s hear Julian rant about Dissection for 30 minutes.

J: Dissection. 

13. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Büddah fans, this is the place. I hope you enjoy the questions.

M: Thank you very much! In Buddah we have this saying that we repeat to each other whenever something goes not along the way or we are simply tired or annoyed, but we know that we must persevere: “Trzeba się karać”. You might also add a cherry on top in form of a flavourful “kurwa” thrown somewhere in the middle of the sentence. “Trzeba się kurwa karać” – “You ought to fuckin’ punish yourself”. This little saying, this mentality – with a pinch of insanity sprinkled on top – has been something that eventually made us finish and record this album and is exactly what I wish to all of you – be strong, guys. Cheers!

J: Thank you.

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

Battle Dagorath ‎– Abyss Horizons 22,99 €

2 × Vinyl, LP, Album, Limited Edition, Repress, Aqua Blue / Grey

INCANDESCENCE

 

Origen: Canada, Montréal

Formados: 2011

Estilo: Black

Temática: Caos, espiritualidad, muerte, naturaleza y vida

Enlaces: Bandcamp, facebook, linktr.ee y spotify.

Miembros:

• Louis-Paul Gauvreau Voces
• Philippe Boucher Bajo, batería y guitarra

Discografía:

• La valse des ombres EP 2011  
• Abstractionnisme CD 2013  
• Les ténèbres murmurent mon nom CD 2016  
• Ascension CD 2019  
• Le coeur de l'homme CD 2022  
• Hors Temps CD 2026

HORS TEMPS (2026)

Cuarta entrega para el dúo Quebequense Incandescence, un álbum que sólo hace reflejar las buenas sensaciones ofrecidas en su anterior "Le coeur de l'homme", en un nuevo álbum que vuelve a profundizar en la oscuridad de su sonido, pero que también sabe ofrecer un ambiente cargado, cierta carga dramática y hasta cierto punto melancólico. El álbum ofrece un tono directo e inmersivo desde el inicio, una carga demoledora de un black metal denso, con unas guitarras que escupen riffs cargados tanto de cierta violencia, como de una profundidad, que aún cuando el ritmo se mueve con con soltura y de manera dinámica, parece por el contrario que una pasta lodosa y una oscuridad insondable se cierne sobre nosotros. Es aquí, en esas secciones más directas y agresivas, que sin previo aviso, van surgiendo elementos que de una forma equilibrada comienzan a trabajar esa cierta carga de dramatismo que se le presupone de alguna manera al comienzo del álbum, cargando el sonido de un ambientación mucho más presente, sin llegar a épica de una forma clara, pero si sembrando el conjunto de un aura de caos. Las voces, en lineas generales, añaden una mayor carga de profundidad, manteniendo un tono agresivo y directo, pero que se las arreglan también para saber añadir una capa de muerte, de una forma que parece una lucha ambigua entre la vida y la destrucción, como partiendo de terrenos poblados de destrucción y desolación que van impregnando el tono del álbum. Lo cierto es que una vez se comienzan a trabajar en el sonido del álbum esas partes más radicales, en cuanto a elementos épicos y dramáticos, su integración en el sonido del álbum es casi perfecto, sin que la oscuridad y la profundidad del mismo se resientan. El resultado es un álbum de sonido profundo, con una densidad que va más allá del contenido, logrando salir indemne de cierto caos que rodea al mismo, para lograr trasmitir una ambigua sensación de asfixia y profundidad. (7,8).

Profound Lore Records

1. Affranchissement  

2. L’Enfer existe  

3. Confluence  

4. Le Vide  

5. Sécheresse  

6. Marasme  

7. Inexorable détérioration

Zkywbrezdreb ‎– My Dead Pulsing Vigil 9,99 €

Cassette, Limited Edition, Numbered

DWELLNOUGHT

 

Origen: Italia, Varese.

Formados: 2023

Estilo: Black, doom

Temática: Esoterismo, espiritismo, nihilismo y trascendencia

Enlaces: Instagram.

Miembros:

• C Batería
• R Guitarra
• S Guitarra, sintetizadores y voces
• T Bajo y sintetizadores

Discografía:

• The Final Desire Is Unbeing Demo 2025  
• Monolith of Ephemerality CD 2026

MONOLITH OF EPHEMERALITY (2026)

Sonido poderoso, profundo y desolador, es lo que ofrece en su primer larga duración la banda italiana Dwellnought. Con un enfoque que de buenas a primeras encierra una propuesta de denso y profundo black metal, al cual se le incorporan unas texturas e influencias de doom metal, sumergirse en "Monolith of Ephemerality" es afrontar un viaje a las profundidades de un paisaje totalmente desolador, en donde caemos rendidos a lo aplastante de su propuesta. Bien es cierto que aún a riesgo de caer en la repetición y en la brutalidad, tal vez, exacerbada de bandas afines, lo que ofrece Dwellnought se muestra contundente y con matices diferenciadores con respecto al resto. Si bien el álbum empuja con fuerza y la profundidad de su sonido esta fuera de toda duda, estilos como el black o el doom, se antojan cortos a la hora de describir el álbum. Con un desarrollo a veces que parece querer caer en la repetición y en los ritmos hipnóticos, a lo largo del álbum, también hay cabida para un infecto sonido que bebe directamente del más destructivo death metal, lleno de profundidad y violencia, con ritmos demoledores y aplastantes, que se enfocan tanto en la profundidad como en la contundencia. Si esto no fuera suficiente, también se han trabajado aspectos que responden a elementos de corte drone, que van completando el registro, no solo con las inclusión de sintetizadores, que aunque parezcan complicados de encajar, logran ofrecer cierto tono ambiental en algunas secciones. Lo mismo sucede con las voces, unas veces brutales y complejas, llenas de profundidad y agresividad, pero que se entregan sin ambages a recitar fraseados que parecen salidos de las profundidades de una mente enferma y desquiciada. Un álbum que al mismo tiempo que puede resultar complejo y enrevesados, también logra ser inmersivo y ese tono tan desalentador que se presenta de inicio, logra dar paso también a un carácter con un buen número de recursos que nos golpean como si fueramos un guiñapo, dejándonos a merced de un enfoque destructivo y enfermizo. (7,9).

Caligari Records

1. Slumbering Through the Dream of Impermanence 03:20  

2. The Final Desire Is Unbeing 17:07  

3. Crystalized Flesh Identities Condensed into Wombs 09:46  

4. III Whispers 10:48  

5. Beyond the Mind 05:54  

  46:55

Gloam  ‎– Death Is The Beginning 13,99 €

Vinyl, LP, 45 RPM, Mini-Album, Limited Edition, Reissue

DOMHAIN

 

Origen: Belfast, Irlanda del Norte

Formados: 2021

Estilo: Post-black meta, shoegaze

Temática:?

Enlaces: Bandcamp, facebook, instagram y spotify

Miembros:

• Anaïs Chareyre-Méjan Bateía, cello y voces
• Andy Ennis Bajo y voces
• Bryn Mills Guitarra y voces
• Nathan Irvine Guitarra y piano

Discografía:

• The Mourning Star Single 2023  
• Nimue EP 2023  
• Footsteps Single 2025  
• Of Pine and Oak Split 2025  
• My Tomb Beneath the Tide Single 2025  
• In Perfect Stillness CD 2026

IN PERFECT STILLNESS (2026)

"In Perfect Stillness" es el primer larga duración para esta nueva banda de Belfast, un álbum de un sonido rico en matices y con un un fuerte carácter personal. Desde el comienzo podemos comprobar lo singular de su propuesta. Por un lado tenemos un apartado musical que se muestra rico en matices, ofreciendo tanto una perspectiva directa y más agresiva, en donde elementos post y progresivos van de la mano, como también un buen trabajo en un ambientación más limpia y evocadora, por momentos perfectamente separados, pero que cunado confluyen es cuando la grandeza de sus música alcanza un nivel más que aceptable. Por su parte las voces también logran adaptarse a este plano musical. hay que destacar el empuje que tiene en sus partes más directas, pero también la riqueza de aquellas que suenan limpias o corales, mezclando diferentes registros y estilos, dejando fluir la emotividad del conjunto y añadiendo un ambiente de frustración y cierta desidia. El álbum se mantiene sólido de principio a fin, y sumergirse en la música de la bandas es aceptar un sonido elaborado, cargado de matices y arreglos que nos atrapan en eses mezcla de post black shoegaze, capaces de zarandearnos entre secciones más directas e incisivas, para acabar refugiados en ese paisaje melancólico que acaba por adueñarse de su propuesta. Con un amplio abanico de recursos, más allá de los meramente musicales, con especial relevancia para el trabajo del apartado vocal, transitando por un paisaje de engañosa belleza, que encierra un profunda oscuridad y melancolía. (7,6).

These Hands Melt

1. Una tarra ci hé  

2. Talamh lom  

3. Footsteps II  

4. In Perfect Stillness  

5. My Tomb Beneath the Tide

 

Neige & Noirceur ‎– Vent Fantôme 17,99 €

Vinyl, LP, Album, Limited Edition

ASHBRINGER

 SUBGLACIAL (2026)

Quinto larga duración para los de Minneapolis, un álbum en donde alcanzan su madurez como banda, al mismo tiempo que siguen llevando sus sonido a terrenos más expuestos. Por lo de pronto, un tema inicial como "My Flesh Shows Its Weakness" marca un tono  de inicio mucho más directo y hasta cierto punto crudo, ambos elementos se repetirán a lo largo de todo el álbum, ofreciendo una faceta que se explora en mayor medida en este nuevo lanzamiento. Sin embargo también es cierto que ese carácter, tanto progresivo como atmosférico o ambiental característico en pasadas obras de la banda, también acaba por tener su protagonismo. Ciertamente ese tono más crudo y directo, de alguna manera se conserva en un aspecto como las voces en mayor medida, bien es cierto que la música dista bastante de mantenerse tan directa y la inclusión de secciones con un mayor peso del progresivo, con una entrega alta en cuanto a ritmo se ve también recompensada con esos entramados de melodías y atmósferas complejas, disfrazadas con un tinte de mayor accesibilidad, pero que ruge con furia en las profundidades. Temas extensos en general, que permiten que la banda desarrolle y cree dentro de cada uno de ellos diferentes secciones y ambientes, desde el más agresivo y directo, como en aquel en donde las guitarras limpias van desgranando algunas melodías evocadores. Todo ello completado con algunas líneas de teclado que contribuyen a construir esa sensación que emana de su música, una sensación que nos habla de une engañosa afabilidad, de una agresividad despiadada, de un ciclo de la naturaleza que nos lleva a la vertiente más cruel de la misma, desde una engañosa sensación de cercanía, todo ello con un trabajo elaborado, donde las amplios desarrollos de guitarra, se funden con unos teclados que logran completar una atmósfera que sólo en manos de Ashbringer logra trasmitir toda su ambigüedad. (7,8).

  Bölverk Collective

1. My Flesh Shows Its Weakness 07:12  

2. Waning Conviction 05:30  

3. Subglacial 08:21  

4. Fleeing into Portals 07:10  

5. Send Him to the Lake 07:01  

6. Vessels 04:43  

  39:57 

Ereb Altor - Ulfven 16,99 €

2 × Vinyl, LP, Album

SLAGMAUR

 

Origen: Noruega, Brekstad/Trondheim

Formados: 2006

Estilo: Avant-garde Black Metal

Temática: Antireligión, desesperación, odio, rimas infantiles y terror

Enlaces: Bandcamp, facebook, instagram, spotify y youtube.

Miembros:

• Dr. Von Hellreich Voces
• General Gribbsphiiser Bajo y guitarra
• Lt. Wardr Baterçia y teclados

Discografía:

• Helvette Demo 2006  
• Svin Demo 2006  
• Skrekk Demo 2006  
• Domfeldt Split 2007  
• Skrekk lich kunstler CD 2007  
• Von Rov Shelter CD 2009
• Thill Smitts Terror CD 2017  
• Three Protocols of Fosen Recopilatorio  2017  
• Wildkatze Single 2019  
• Ritual Dogs Single 2022  
• Hulders Ritual CD 2026 

HULDERS RITUAL (2026)  

El origen de la banda hay que buscarlo en 1996 bajo el nombre de Norske Synder y la edición de cinco primera demos, ya en 2006 fue cuando se produjo el cambio en la formación y en la denominación y es aquí, bajo el nombre de Slagmaur donde se produce el grueso de su carrera, siendo este "Hulders Ritual", su cuarto álbum de estudio. Lo cierto es que el contenido se puede describir como diferenciador en diversos factores. Utilizando un hilo conductor en su música de elementos repetitivos y guitarras distorsionadas que sirven como base al resto del conjunto. Temas extensos en la mayor parte de los casos, nos sirven para ir profundizando en un sonido black que nos va atrapando en un regusto hipnótico en muchos aspectos, como también en un buen puñado de recursos que logran elevar el resultado final del conjunto. Con algunos invitados como Hoest (Taake) o Silenoz (Dimmu Borgir), la banda ha logrado completar un álbum que nos atrapa en su atrevimiento, por que si bien en esencia el sonido cumple muchas reglas de elementos clásicos, sin embargo en manos de Slagmaur alcanza también un tono entre lo experimental y por su puesto lo vanguardista, con recursos que no dejan de sorprender tanto por su originalidad, como también por sus elementos con un alto grado de contraste. Partiendo de ese sonido entre lo envolvente y lo hipnótico, logran crear una atmósfera cuando menos inquietante, ofreciendo un amplio abanico de guitaras distorsionadas y trabajando unos teclados en segundo plano que plasman una atmósfera cargada e inquietante que a renglón seguido puede ser completada por unas voces casi que corales, con elementos infantiles, que profundizan en ese carácter vanguardista del álbum. A medida que el álbum trascurre, es cierto también, que se va apoderando de nosotras un extraña sensación de enfermedad mental, de locura en estado puro, golpeados sin piedad por esa lineas continuista en su propuesta, que esconden un plano oscuro y terrorífico, sabiendo jugar con la inocencia y el temor a lo desconocido. (7,9).

Prophecy Productions

1. Ritual Dogs 04:21  

2. Wildkatze 06:16  

3. Huldergeist 08:05  

4. Hexen Herjer 06:47  

5. Warlok 06:30  

6. Rathkings 07:50  

  39:49  

Mozart*, Elisabeth Schwarzkopf, Christa Ludwig, Giuseppe Taddei, Walter Berry, The Philharmonia Orchestra* And Chorus*, Karl Böhm ‎– Così Fan Tutte 59,99 €

3 × Vinyl, LP

Vinyl, LP, Single Sided

Box Set

BARBARIAN - INTERVIEW

 Good evening, thank you so much for answering these questions. How's everything going in Florence?

Thank you for your interest. All fine here, just back from the weekly Barbarian practice, we never rest.

1. 2009 is the year Barbarian began its journey. How did the idea for Barbarian come about? Why did you choose the name Barbarian?

I had been playing in many bands in the previous years, I just felt the need of a pure raw metal band with a back-to-basics approach. The name fit naturally as a reflection of the savagery of the music. A barbarian is an uncivilized person, as is not able to speak correctly (the word comes from Greek, it stands for a babbling person), deprived of moral and manners and, moreover, deprived of religion. That’s exactly us!

2. The work over these years has been tireless, as evidenced by the release of your sixth full-length album, "Reek of God." Looking back, how would you describe the band's trajectory? What good and bad moments have you experienced with Barbarian during this time? Did you ever consider throwing in the towel and leaving Barbarian?

Definitely, six albums, two 7” Ep’s. a split and a live album. Well, when we started the Hellhammer/Celtic Frost influence was quite strong. But we soon started walking our own path, focused not on emulating other bands, rather on incorporating all the metal we listen to (basically ALL the metal) in a sound shaped by our own personality. Without the ambition of inventing anything new, but with the awareness of being players of the game with 100% dignity. We incorporated a lot of classic heavy metal elements in our sound during the years. With Reek of god it all probably turned sour because I think is our most aggressive album ever. There’s no respite, it’s an all out attack of riffs and tempo changes that reflects the aggression of the lyrical concept, more blatant and angrier than ever. Never considered for a second to quit Barbarian, it’s existential for me. There might have been some difficult moment during the first line-up change especially, but now, with the solidest of line-ups and after all the efforts put in Reek of god, it’s definitely a great moment.

3. "Reek of God" is your latest creation. What was the songwriting and recording process like for this new album? How do you think your sound has evolved compared to four years ago when you released "Viperface"? What brands of instruments did you use in the process?

We took our time, we always practice regularly preparing our live shows and working on new songs, this is our routine from day 1. Songs are shorter compared with our previous albums, but packed with an awful lot of riffs and tempo changes. Keeping all together flowing nicely is been a hard but rewarding work. As I said before, the new album is our more aggressive than ever, music-wise but also vocals and lyrically-wise. To us is heavy metal, but definitely a hostile, belligerent and sinister one. We recorded everything in our practice room with the aid of our faithful audio engineer Niccolò Gallio. No big pre-production and almost no post-production, clean but raw sound as to show the energy of our live shows. We use a Gibson Flying-V plugged in a Marshall JCM 800 through a Tube Screamer, Tama drums and Ufip cymbals, Jackson bass and Bugera amp. And for those curious about details, we are one of the few bands in our genre E-tuned.

4. That blend of thrash, speed, and black metal that has always been present in your sound was a true reflection of the influences of classic bands like Hellhammer and Celtic Frost—influences that you've never denied. However, it's also true that your sound has been enriched with each new release, and while still retaining those recognizable influences, there are also many elements that give the sound a very personal touch. How would you describe the sound of the new album? Where did the inspiration for the songwriting come from?

You’re right, lots of influences have been incorporated in our sound and I’m happy that you recognize the personal touch, that’s the most important thing. This time the aggressive edge I’ve already discussed has flown also through mid 80’s death metal I guess, we could say less Judas Priest and more Death Strike and Death. There’s also a stronger punk influence, the likes of Discharge or English Dogs have always been faves of ours. Also, and this is a surprising yet an indirect influence, we’ve listened a lot to the first two Atheist albums, the rapid pace of the new songs is probably somehow influenced by them.

5. Where you make no concessions is in the subject matter, which is more or less centered on themes related to death or anti-religion. Do you think these themes are inherent to a style like yours? What references did you look for when writing the lyrics? Do you compose first and then write the lyrics, or vice versa?

This kind of lyrics fit the music perfectly. It’s not the only kind of music they fit. But savage music demand savage lyrics, and vice versa. We usually write the music for a song and then the lyrics for it. Metrics and specific subjects need music first. At the same time the extremely angry mood against religion, for some reason angrier than ever, was there first while working on riffs and tempos. A mutual influence, because it all goes together. While with Viperface the main reference has been the Chants of Maldoror by Lautreamont, this time we took no indirect way to strike at religion. It’s all in the face with no half-measures, and Shit He Forgives, with lyrics inspired by Crass “Reality Asylum” are the best example. 

6. You've partnered with Dying Victims Productions for the release of the new album. How did this opportunity to join forces come about?

We chose to focus back on Europe after three albums on Hells Headbangers. A partnership based on friendship, respect and admiration was just natural, Dying Victims was the most fitting label for us underground cultists and in return they appreciated our work. Deal!

7. Regarding the mixing, mastering, and recording process of the album, there isn't much information available. Who handled this aspect for the new album?

Niccolò Gallio recorded and mixed the album, as he did on all our previous releases starting from the 2017 US-tour 7” EP. He knows what we want by now and we know each other, so everything flows in the smoothest way. He doesn’t work that much with metal bands maybe, but he’s a veteran of the early 90’s italian death metal scene and he knows his and our shit. The mastering was done at Toxic Basement Studio, famous for his work on FOAD records releases. Carlo Altobelli has worked also on all the reissues I’ve done on my small label Ripping Storm, as well.

8. The cover art maintains a somewhat recognizable tone and is, to a certain extent, a continuation of your past work. Does this more violent image reflect a more direct style in your music? Who designed it, and what is it intended to convey?

Yes, the blatant act of behading a crusader definitely reflects the style of the new album. The message is clear, a no frills attack on our enemy. It retains the epic feeling of our four previous albums (the first one had a Beksinski painting as cover, instead), this time even with a more direct reference to the work Frazetta. It’s a painting of the extremely talented Claudio Elias Scialabba, we couldn’t be happier of his output.

9. Related to what I mentioned earlier about the more personal style you've managed to achieve in your sound, I suppose the inclusion of a cover of an L7 song, as well as lyrics based on a Crass song, and the intro that covers an Ice-T track, has something to do with it. Can you explain a bit why you decided to incorporate these references into the new album? Where do these influences in the work of these bands come from?

We are music maniacs. Not only metal. And they are all artists we appreciate although they are no metal. This time we also aimed at displacing the listener with names that are no part of the usual raw metal curriculum and at showing that we are able to incorporate anything into our sound, the atonal riffs of that specific L7 song, the anti-religious ferocity of the pioneers of anarcho-punk and the subtle humour and no-bullshit attitude typical of Ice-T. Still, mantaining the usual Barbarian sound alive and fresh. Those elements are not that far from metal though, isn’t it?

10. When Barbarian was formed, I imagine there weren't many bands with a similar style, something that has changed somewhat today. What's your opinion on the trajectory of bands like Midnight, Lucifuge, Bünker 66, or Butcher in terms of sharing a somewhat similar style? How would you describe the current Italian extreme metal scene?

When we started in 2009, in Italy I remember Bunker 66, Noia, Vesper, Satanika, Baphomet’s Blood, Hatred, Extirpation, to keep close to our sound. And besides Vesper, they are all still active. Nowadays we also have great bands like Hellcrash or Strikehammer, but the backbone is still there. Talking worldwide, I guess you’re right, Midnight on Metal Blade speaks loud about the popularity of the sub-sub-genre, same goes with Hellbutcher. I have seen Midnight live in 2008, they actually opened for an old band of mine while touring the US (that was weird already back then), I have all their albums and I’m definitely a fan, but the formula is still exactly the same since the beginning, maybe too many albums now and less and less anticipation. But still is a band that I appreciate. Bunker 66 are our half-brothers, our split in 2012 is there as a witness. We share the same all out love for metal, and their discography springing from it can’t be less than great, they have their own sound which is a mandatory element. And yes, Lucifuge and Butcher are excellent, they are in the front raw in this kind of metal of ours, not forgetting Hellripper, Cruel Force, Eurynomous, Zoldier Noiz and also newer bands like Nuctemeron, Diabolic Night, and of course Desaster. They are just the first coming to my mind, the scene worldwide is big and alive. As for Italy and it’s whole extreme metal scene, there’s a whole lot of bands getting recognition worldwide, think about Fleshgod Apocalypse for instance (not my thing, but they are famous nonetheless). Out of bands that I consider cool, besides the ones already mentioned, I would call out for Miscreance, Sickening, Assumption, Marthe, Grumo, Thulsa Doom, Fulci, Necromorbid, Taxidermia, Abhor…  but there’s a lot more. Also, there’s a good number of venues but the general attendance could be better. And several great labels like FOAD, Terror from Hell, Despise the Sun, Everlasting Spew, Iron Tyrant, Dusktone, Avantgarde. We can’t complain at all. 

11. How has the live presentation of the new album been going? What dates do you have confirmed for next summer for the live presentation of the new album? What can your fans expect from your live performances?

Our concerts are always extremely energetic, and the crowd usually feel it. Live shows must be something that don’t make you long for your couch to listen the LP from. Would you imagine actors standing still on a stage reading their scripts with no action at all? Music is the same, the stage is a pit of fire to engulf the audience as well. We’ll play at the Dying Victims festival in April, in the meanwhile many shows in Italy as well , and in August will tour Mexico, quite a plan!

12. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your lives pushed you to want to become musicians?

My first album ever was Europe’s “The Final Countdown” around 1987, haha! But the game changer was Metallica’s “And justice for all” soon followed by their first three, as well as Kreator “Extreme Aggression”, Sodom “Persecution Mania”, Bathory “Blood fire death”, Venom “The Singles ’80-’86”, then Megadeth, Slayer… I can’t remember my first concert, I used to live in a remote part of Italy and it wasn’t easy to move, so in my formative years I was more focused on records actually. Might have been some hardcore concert, though. Loving music so much was the main reason, air-guitar wasn’t enough anymore, I just wanted the same noise to come from my hands, simple as that.

13. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

If I had to choose only one, I’d randomly pick one among the first three Bathory, they set the standards forever to come. As for my most recent purchases, considering only new releases and not reissues of old stuff: the new Violator, the new Desaster, Hemorrhoid, Septage and the latest Bat.

14. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Barbarian fans, this is the place. I hope you enjoy the questions.

Thank you so much, we hope to come back to Spain soon, it’s been a while since the last time!

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Volcanic  ‎– Okkult Witch 9,99 €

Vinyl, 10", EP, Limited Edition, Picture Disc, Remastered

VISERION - INTERVIEW

 Good afternoon, thank you so much for answering these questions. How's everything going in New York?

Hey thanks for having us. Everything is good here. Hope all is well with you!

1. Viserion started around 2019. What led you to create the band? Why did you choose the name Viserion, and what does it refer to?

Me and my brother Matt were in a death metal band for awhile but I had always wanted to create black metal which is my true passion. We chose to name ourselves Viserion after one of the dragons from the “A Song of Ice and Fire” books by George R.R. Martin. 

2. In 2021, you released your first album. However, there hasn't been much activity from the band since then until the recent release of your new EP, "Fire and Blood." You've also added a new bassist and guitarist. How has all of this affected the band?

Once we made the lineup change we took some time to play shows and build chemistry with each other. This time period helped us to build our sound that culminated in our latest release. We want to continue the momentum we have and are currently working on new songs further expanding on our sound

3. "Fire and Blood" was self-released on January 16th. How did you approach the songwriting and recording process for this second EP? How involved were Tasso and Cris in the work on the new EP? What brands of instruments did you use in the process?

For songwriting we would have either myself or Cris bring a skeleton of a song to the group. We would then jam together experimenting with different rhythm patterns and changing some parts until the song became more fleshed out and then we would add lead parts etc. Every member of the band writes and has input with us trying every idea out until we are happy with where the song is. As for instruments we used PRS and Epiphone guitars, a Carvin bass and a Tama Kit

4. In your early days, your sound had certain references to the more classic side of black metal. However, the sound of this new EP, while still retaining a recognizable black metal sound, seems to explore different textures, both in the guitars and the atmosphere. How would you describe the sound of the new album? What bands and styles influenced the composition of the EP?

I would describe the sound of the new album as Melodic Black Metal with some atmospheric and classic parts included. We listened to a lot of bands such as Gates of Ishtar, Ultar, Satyricon and 1349 which all had certain influences on the writing process.

5. There's an aroma of destruction, fantasy, and lost battles throughout the music of this work. I suppose that's partly due to a theme centered on "A Song of Ice and Fire," and more specifically on the Targaryen family, hence the EP's title. How did you decide to approach composing an EP with this theme? Did you adapt the lyrics to the music, or vice versa? Will George R.R. Martin finally finish writing the saga?

We had written Reign of Fire very early and I knew I wanted to create a song centered around Aegon the Conqueror and his dragon Balerion. Next we wrote Mad King which with its chaotic atmosphere was the perfect topic for the song. This then led to us sticking with the concept and the songs wound up all fitting the lyrics. I sure hope he will! 

6. Several people are listed in the album credits, but Billy Pfister's work stands out. He had a particularly unique role. How would you describe Billy's contribution? How was the entire mixing, mastering, and recording process carried out?

Billy is an amazing engineer, producer and musician in his own right and his contribution and ideas are scattered throughout the album. From him laying down keyboard parts to getting the best out of each take he is an integral part of the album. For mixing and helping produce in his own right Chris Grigg also played a pivotal role in Fire and Blood. The atmosphere of the album especially is because of him as is the idea of the Blackfyre outro and the Harrenhal ending. Jacob Buczarski mastered it perfectly and helped to really complete the album’s overall sound.

7. You opted to self-release the EP, currently in digital format. Why did you choose self-release? Are there possibilities of releasing an album in other formats with a record label?

We currently have CDs and Cassettes available through the label “Terminus Hate City” who we’ve partnered with.

8. For the cover art, you used a work by the French painter Hubert Robert. It's interesting how works by artists from centuries ago fit perfectly with the imagery and themes of extreme metal. Why did you choose this particular piece? How did you adapt it to what you were looking for?

This piece stood out to us due to the striking imagery of horror as a city is engulfed in flames. This alluded to the theme of the album which is the terror and destruction that dragons in Westeros are capable of.

9. You're from New York, what's the extreme metal scene like in such a big city? Is it difficult to break into the scene in such a cutting-edge and immense city? What similar bands from your city would you recommend?

The scene in New York is strong and diverse. On any given day you can see several underground metal shows from various sub-genres. If you're dedicated and you put in the hard work then you can succeed. As far as other similar black metal bands I would say Woe, Yellow Eyes, Krallice, Malghast and Jotunheim to name a few.

10. Have you prepared anything special for the live presentation of the new EP? What would you like to incorporate visually to better reflect the album's themes?

We have the plan to play the album front to back for the release show and are investing in some lighting and other stage items to reflect the tone of the album.

11. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your lives pushed you to want to become musicians?

Some of the first albums I bought were Morbid Angel “Altars of Madness”, Darkthrone “Translyvanian Hunger” and Death “Scream Bloody Gore”. For concerts I remember seeing Nine Inch Nails and Mastodon in my teens. Me and Matt both were in band in elementary school and we continued to foster that passion the older we got.

12. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

I think that Translyvanian Hunger is still the absolute perfect essential black metal album. The last albums I bought were Malghast “Penumbral Void”, Woe “Legacies of Human Frailty” and Bloodbark “Sacred Sound of Solitude”

13. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Viserion fans, this is the place. I hope you enjoy the questions.

Thanks for having us. Thank you everyone who has supported and listened to “Fire And Blood” We appreciate all of you.

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Warpvomit ‎– Barbaric Triumph Of Evil 10,99 €

Vinyl, LP, Compilation, Limited Edition