FERALIA - INTERVIEW

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

Erymanthon: Hails to you. A bit of a stressful period, if I’m being completely honest. But it will work out, I hope.

Raijinous: Hi, stressful period for me too. Life sucks…

1. Feralia was formed in 2018, initially based in Italy, and now splitting its time between Italy and Sweden. Its three members have considerable experience in music, having played in other bands. So, how did the circumstances arise that led you to create a new band? Why did you choose the name Feralia, and what does it represent? How do you manage working remotely between Sweden and Italy?

Erymanthon: I am the only one in the band who lives in Sweden, so as far as the remote work is concerned, over the past two years we have really mostly been focused on getting the album completed. A lot of the recording had been done before I left, and since we do not have a stable drummer at this point and we have not been rehearsing regularly for two or three years, this really was a non-issue. We have been in touch as far as mixing is concerned, labels, everything, and I still do visit Italy occasionally. So that worked out pretty well.

Raijinous: Erymanthon is the only one living in Sweden, me and Krhura are living in Torino (northern Italy). Feralia was a name that I chose, based on my past studies and my interests, and it’s referred to ancient roman festivals, dedicated to the cult of the dead. The band was born by an idea of our bassist Krhura that contacted me and another guy on the drums for what would become the first incarnation of Feralia. The intent, after years playing other musical genres, was to return to a musical direction that had been so important in the past for all of us three.

2. You've just released your third full-length album, "Ultima Requies." How do you think the band's sound has evolved over your three albums? What was the songwriting and recording process like for the new album? What brands of instruments did you use?

Erymanthon: I have only been in the band since Over Dianam, so I haven’t been there as far as the composition of the debut album is concerned. And truth be told, my input on Over Dianam and Under Stige was very limited. Overall though, I can see that we have been moving more and more into a ritualistic and atmospheric dimension. If you compare Helios Manifesto and Under Stige, you can clearly see that the latter is much more dark and meditative. Ultima Requies takes a further step into the same direction, we have enhanced the atmosphere with longer compositions, choral vocals, acoustic atmospheres, synths and traditional instruments. We have also taken advantage of the fact that I joined the band not only as a vocalist but also as a guitar player, building many riffs that really are made up of two different guitar parts. As far as the composition is concerned, each of us brought up the main ideas for 2 to 3 songs, and then we all sat down arranging and developing them, whether at rehearsals or during pre-production sessions in the studio where I and Raijinous did a lot of the arrangement work. We handled all recording and production ourselves.

Brands? I don’t even remember all of them… I have a Washburn CS-780 guitar and a Boss Metal Zone distortion pedal. GHS Boomers strings. Raijinous is using an LTD-something, LP shaped guitar and an Artec Soloist Distortion pedal. Marshall amplifiers, of course. I have no idea about the bass or drum brands, I do not remember at all. Well, we just use what we have and try to come up with our own sound, a sound that reflects our vision, I guess that is what’s most important.

Raijinous: I began playing bass with my first bands during high school.., then I switched to guitar/vocals for a local Misfits cover band. Then I wanted MY music (playing guitar) and began a band that lasted until 2018. I have a Gibson Les Paul Standard, but with Feralia I play an ESP LTD  EC – 1000. If compared with the first days, the sound totally evolved. In the beginning it was me and Krhura sitting in his apartment and jamming ideas for new songs, then we went to reaharsals with whichever drummer was on duty at that time and try to focus the songs. When Erymanthon arrived we also found a more stable drummer and became a sort of “real band”, playing some gigs too. With this lineup all the work for the songs was done during reharsals.

3. “Ultima Requies” showcases a much more ambitious sound, with Feralia demonstrating their mastery of their strengths, such as the balance between aggression and rawness on the one hand, and melody and atmosphere on the other. It also features elements like synthesizers that lend the album a very classic feel. How would you describe the sound of the new album to someone who hasn't heard it yet? What inspired you to compose “Ultima Requies”?

Erymanthon: I suppose you do a very good job with describing it as a blend of aggression, melody and atmosphere with a raw feel. I would highlight that it features a strongly ritualistic atmosphere, with a lot of elements that trace back to ancient traditions like the inclusion of clean chants and traditional instruments such as a mandolin, which evoke an ancestral feel. A lot of the songs give off this feeling of “falling out of time”, or travelling to another dimension, at least in my view. Still, the aggression and the oppressive atmosphere are always there. As far as inspiration goes, the album started to be composed in late 2021, a point in time that was very difficult for all of us in the band, each for different reasons. For me personally, working on the music for this album was a much needed catharsis, especially in the early days.

Raijinous: I have to say Erymanthon did a really good job managing our idea of sound. The intention was easy to describe, but not at all to bring to completion: a raw sound in which you can distinguish the instruments (the guitars above all, given that we often make different notes).

4. Your lyrics continue to be inspired by ancient Rome; however, in “Ultima Requies,” the figure of Erichto emerges strongly, which might suggest a shift from lyrics more related to death and history toward more mystical and occult themes. How did you approach the themes of the new album? Do the lyrics adapt to the music, or vice versa?

Raijinous: my lyrics always adapt to the music. I begin with the music, then I add the vocal melodies, and at the end I adapt proper lyrics. Regarding this album (and Pharsalia, Defigere and Marpiter in particular) I simply took Lucano’s “De Bello Civili” on one side and tried to develop Italian lyrics from the latin verses. The hardest challenge was incorporating rhymes, more than the METER, wich ofet comes naturally to me. Marpiter lyrics are no taken, of course, from Lucano’s opus, but come from my knowledge about god Mars. 

5. The mixing and mastering were done at Darkwoods Studios, although the production was handled by you. How did this whole process unfold, and why did you choose Darkwoods Studios? How involved were you yourselves in the process?

Erymanthon: Like I said before, all recording and production duties were handled by ourselves. Darkwoods Studios is my own studio that I run and it was natural for us to choose it, I have been recording music since 2018 so I am very comfortable handling production duties. So the whole mixing and mastering was actually done by me, though with Raijinous present a lot of the times during the sound design phase, and everyone involved could chime in with their inputs during the mixing phase.

6. The new album will be released by Aeternitas Tenebrarum Musicae Fundamentum. I imagine you consider this a crucial step in gaining greater recognition for the band. How did you manage to work together on the release of the new album?

Erymanthon: Our bass player Krhura was in contact with several interested labels over the years we worked on the album. A few of them inexplicably backed off when the record was finally ready, but ATMF was very eager to release it, so we went with them and things so far are going just fine.

7. The cover art by Francesco Gemelli, which depicts the soul, has a certain connection to the figure of Erichto mentioned earlier. Why did you choose Francesco for the cover? How important is death to you, and what symbolism does it hold?

Erymanthon: The cover represents the necromantic ritual carried out by Erichto, as described in the song Pharsalia. We decided very early on that the cover should depict just that one scene, as Pharsalia is, to us, the central song in the album. Francesco was the graphic designer appointed by the label, and we could not be happier with his work, he did an excellent job with the cover as well as the whole CD booklet which depicts different scenes from the ritual and a funereal Ancient Roman setting.

Death? An inevitable passage. Existence, consciousness and the afterlife are big philosophical problems that I don’t think we can solve, though I contemplate them quite often. I am not convinced that there is something after Death, certainly not in the way we can think about it, though I do not fear it. Life is just one manifestation of the force of Mother Nature, and that will never cease to exist. Overall, we just don’t know. Probably never will, so it’s okay to fantasise.

Raijinous: Death is part of life, whether we like it or not…, but the front cover is not inspired by Death itself, but on Erichto’s ritual towards a soldier.

8. You've been active with Feralia for almost a decade, but you were previously part of other bands. How do you think black metal has evolved over these years? What significant differences have you found between the Swedish and Italian extreme metal scenes?

Erymanthon: Yeah, we are getting old, heh… I am not much into the current scene, though I have to say that a lot of so-called “Black Metal” nowadays just became another trend, a meaningless product for the masses. That’s the social-media-black-metal generation. I believe this really is very different from the original meaning that the genre’s originators envisioned behind it. Though do not get me wrong, there still are good albums being made. You just have to dig a little bit deeper. Differences between Italy and Sweden? God, I can’t even… it’s impossible to compare. And it does not only affect Black Metal, but Metal as a whole and even music in general. Let’s put it this way: we really do have many good bands in the underground in Italy, but the audience is just not that dedicated as a whole, there’s virtually no place to play (except if you are a crap cover band), and not a whole lot of people who take it seriously. In Stockholm we have at least one rock or metal show every week, be it underground or “mainstream”. The scene is much stronger up in Sweden, with very dedicated individuals. I believe this has a lot to do with cultural issues.

Raijinous: nowadays black metal is a “trend genre”. And if you thing about how it came into being, with what ideas and principles, it’s actually quite an absurd thing. So, it has evolved for sure, regarding the audience involved, but it has definitely regressed, considering the pure principles that gave birth to it. It’s by no means easy at all to get noticed these days, given the myriad of bands existing and spring up every day, across the global black metal scene.

9. Is there a possibility of you presenting the new album live? What circumstances would need to be met for that to happen?

Erymanthon: A stable drummer would be a good place to start… also, I live in Stockholm, so it would depend on if and when I or the others would have the time to travel, where the shows would happen, and so on. But we would like to, of course.

Raijinous: not easy at all in this moment, but we’ll work on it. It’ll depend on how the album will be precepted too.

10. 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?

Erymanthon: The first concert I attended, I was still in my mother’s womb and it was a traditional folk band playing ancient music from the Alps. As you can see, the archaic and traditional element stayed with me until now. The first album I bought was Wishmaster by Nightwish, though I have been listening to a lot of different types of music my whole life before that, as I come from a very musical family. I began playing the piano at 6, quickly gave up after one year, and it was not until I turned 14 that I started playing the guitar, after listening to the album I just mentioned. It just really snowballed from there. My whole life became centred around music and I could not think of doing anything else with the same level of passion and priority, it really is like an addiction.

Raijinous: I got started to music by my father, because he played piano and guitar and listened to bands like Led Zeppelin, Rolling Stones, Black Sabbath and some Italian seventies prog stuff too. When I began listening music alone, the first band was of course Iron Maiden (they put me on the track of playing bass), and then Metallica, Megadeth, Slayer, Sepultura.., and then I came across Bathory, Burzum, the first Cradle of Filth album.., and a new world opened up to me.

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

Erymanthon: Tough question… Black Metal does not have one face, yet it has many. And different albums give me different perspectives on the genre so it really is impossible to pick just one. The most recent albums I bought? Greatest Hits by The Police, and Nothing like the Sun by Sting.

Raijinous: Easy answer: Burzum’s Hvis Lyset Tar Oss is the essence of black metal for me.

Regarding the recent stuff I enjoyed, I have to mention two Swedish and an American: almost all the Svartadauthuz projects I’ve come to appreciate, as well as those by Magnus Eriksson (particularly Wagner Odegard, in which he truly takes the concept and boundaries of black metal into new territories). The America is Alex Poole (from Chaos Moon), another incredibly prolific musician with an enormous number of projects, almost all of which are excellent.

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

Erymanthon: Thank you for your time and for the good fucking questions. To our whole audience, thank you for your support, for the great feedback so far on Ultima Requies, and for sticking with us throughout the years. Keep Metal at Heart. Ave.

Raijinous: Thanks to you. “Gutta cavat lapidem”.

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GAEREA ‎– Gaerea 49,99 €

Cassette, EP, Limited Edition, Numbered, Stereo, Black

DUIR - INTERVIEW

1. 2013 is the year Duir was founded. Why did you decide to create Duir? Why did you choose the name Duir, and what does it refer to?

DUIR started from the desire to create music that felt honest to us, combining the intensity ofblack metal with the melodies and atmosphere of folk music. We chose the name DUIR because it’s the Celtic word for “oak.” The oak symbolizes strength, wisdom and endurance, values that have always resonated with us. It also reflects our connection with nature, which has been an important source of inspiration since the very beginning.

2. June 26th is the scheduled release date for your second album, which comes almost four years after “T.S.N.R.I. – Impermanenza” (2022). What was the songwriting and recording process like for this second album? How do you think your sound has evolved between the two releases? What brands of instruments did you use for the recording?

The writing process for Catarsi was focused on creating a complete and coherent journey. Compared to T.S.N.R.I. – Impermanenza, which was more introspective and abstract, this album follows a specific narrative and required a different approach to songwriting and arrangements. Over these years, we have become more aware of our identity and more confident in combining atmosphere, aggression and folk elements. The core of DUIR has remained the same, but the songwriting has become more mature and focused. For the recordings, we used a combination of different instruments: custom-made SMG guitars, McCallum bagpipes, an Altarwind hurdy-gurdy and Kerry Whistles flutes, alongside the other instruments needed to create the sound of the album. The goal was always to preserve the natural character and emotion of each element.

3. The reference to the oak tree in your name contrasts sharply with the concept of the new album, which focuses on events from the First World War. How have you managed to balance these two seemingly antagonistic concepts with what you've offered on "Catarsi"? How would you define the sound of the new album? What bands or styles influenced you during the songwriting process?

The oak has always represented endurance, memory and the connection between past and present. These ideas are actually very close to the concept of Catarsi: even in the darkest moments of history, such as the First World War, we wanted to focus on the human experience and the emotions that remain over time. Musically, Catarsi is a blend of atmospheric black metal and folk elements, with a strong focus on atmosphere, storytelling and emotional contrast. The album moves between aggression and melancholy, creating a journey that follows the character’s inner transformation. During the composition, we were influenced by bands such as Ellende, Panopticon, Saor, Groza, Harakiri for the Sky and Mgła, especially for their ability to create intense atmospheres while keeping a strong identity.

4. Where did the idea for the new album's concept come from? Is there also an existentialist theme in your lyrics, trapped within the subject of war? Do the lyrics adapt to the music, or vice versa?

The idea for Catarsi came from the place where we create our music: our rehearsal room is inside an Austrian fort built in 1845, a place that lived through the First World War. Being surrounded by those walls made us imagine the stories and emotions connected to the people who experienced that period. The war is only the setting, while the real focus of the album is the human condition: fear, loss, identity and the search for meaning. In this sense, there is an existential dimension behind the story. The music and lyrics developed together. The atmosphere and emotions usually come first, and then the story and words grow around them, creating a single narrative.

5. Alberto Spaziani, V oid Sounds Studio, and also Ad Nauseam Sounds with P.G. Groza's studios appear as references during the recording, mixing, and mastering of the album. Do you think that working in these studios and with these people was fundamental in achieving that aggressive sound, which is also permeated by an atmospheric folk element, and integrating it all coherently? Are you satisfied with the final sound?

Absolutely. Working with Alberto Spaziani, MK at Void Sounds Studio and P.G. at Ad Nauseam Sounds was fundamental to achieving the final sound of Catarsi. Each of them contributed with their own experience and vision, helping us preserve the raw intensity of black metal while giving space and clarity to the folk and atmospheric elements. We are very satisfied with the final result because it represents what we wanted from the beginning: a powerful but emotional sound, where every instrument and every layer has its own place within the story of the album.

6. The voice of L.G., from the Austrian band Ellende, appears on the track "Impeto." How did the idea for this collaboration come about? What do you think L.G. contributed to the final result of the album, beyond his collaboration on this track?

The idea came naturally from the connection we built with Ellende. We had already shared the stage with them in Italy, and we have always appreciated their music and their approach. We felt that L.G.’s voice could add a different emotional dimension to “Impeto” and fit perfectly with the atmosphere of the song. Beyond this specific collaboration, his contribution represents the spirit of the album: bringing together different experiences and perspectives while keeping the identity of the music intact.

7. You've gone from self-releasing your previous release to working on the new album with AOP Records. How did the idea of looking for a record label for the new album come about? Why did you ultimately decide to work with AOP Records?

After the experience of releasing T.S.N.R.I. – Impermanenza independently, we felt that Catarsi deserved a wider audience and a stronger support behind it. We wanted to work with a label that could understand our vision and help us reach listeners beyond what we could do on our own. AOP Records was the right choice because they showed genuine interest in our music from the beginning. They have a strong identity and a roster of bands that we respect, and we felt that Catarsi could naturally fit within their catalogue.

8. The album cover was designed by The Veil of Arda. How did the idea of working with them come about? What does the cover represent, and how does it relate to the album's content?

We have known Silvia from The Veil of Arda for a long time and we are also close friends, so the collaboration came very naturally. We have always appreciated her artistic vision, and we felt that her style could perfectly match the atmosphere and emotions behind Catarsi. The artwork doesn’t simply represent a historical event, but the emotional side of the story: the weight of memory, the human experience during conflict and the inner transformation of the main character. It reflects the journey through darkness and suffering towards a form of acceptance and catharsis.

9. Duir knows how to leverage their live performances to connect with their audience. How important is it for you to connect with your fans through the concert experience? How do you plan to approach the intensity, musical richness, and concept of your new album live? What upcoming concerts do you have scheduled?

For us, the live experience is one of the most important aspects of DUIR. A concert is not only about playing songs, but about creating an atmosphere and sharing an emotional experience with the audience. Bringing Catarsi on stage requires balancing its intensity and its more atmospheric and folk elements. We want the live show to preserve the emotions and the journey of the album, not just reproduce the recordings. At the moment, we are focusing on promoting Catarsi with upcoming shows, including our release show in Verona and other dates that will be announced soon. We are also working to bring DUIR to new places and festivals in the future.

10. Although you're from Italy, do you identify with the Italian scene in your style, or do you feel more affinity with bands like Ellende, Saor, or Groza? How would you describe the current Italian extreme metal scene? What bands from Verona would you recommend?

We definitely feel connected to the Italian scene, even if our influences come from different places. The bands you mentioned have influenced us for their approach to atmosphere and songwriting, but DUIR has always developed its own identity by combining different elements. The Italian extreme metal scene is very active and there are many bands with a strong personal vision. It may not always have the same international visibility as other countries, but there is a lot of quality and creativity. Some Italian bands we would recommend are Enisum, Forgotten Tomb, Shores of Null and Messa. They all have different approaches, but they represent the variety and creativity of the Italian metal scene.

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 be musicians?

Music has always been a fundamental part of our lives. Like many musicians, our journey started from curiosity and the desire to discover new sounds. The first albums we bought and the first concerts we attended had a huge impact on us, showing us the power of music as an emotional and live experience. There wasn’t a single moment that made us become musicians. It was a gradual process, growing up surrounded by music and eventually feeling the need to express ourselves through it. Creating DUIR was a natural continuation of that journey.

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

It’s difficult to choose only one album, because black metal has always had many different expressions. For us, Bergtatt by Ulver represents one of the most unique and influential examples of how atmosphere, nature and extreme metal can coexist. It perfectly captures the emotional and immersive side of the genre. Regarding recent purchases, some of the latest albums we bought are Todbringer by Ellende and Exercises in Futility by Mgła. We always try to support bands and labels by buying physical releases whenever possible.

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 Duir's fans, this is the place. I hope you enjoy the questions.

Thanks to Black Metal Spirit for this interview and for the interest in DUIR. We hope listeners can connect with Catarsi and discover something personal in its atmosphere and story. See you on the road!

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Brüja - Polluted Sessions 2020 - 1,99 €

Cassette, Single Sided

DYMNA LOTVA

 

Origen: Bielorrusia, Minsk.

Formados: 2015

Estilo: Doom, post-black.

Temática: Folclore, naturaleza y tristeza.

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

Miembros:

• Bocian Batería
• Jaŭhien Bajo y guitarra.
• Mikita Guitarra
• Nokt Flauta, letras y voces

Discografia:

• VIII Single 2016  
• Самотны чалавечы голас Single 2016  
• Requiem Single 2016  
• Зямля пад чорнымі крыламі: Дрыгва CD 2016
• Крумкачы таксама смяротныя Single 2017  
• Палын CD 2017
• Трудна, нудна на сэрдуньку Single 2018  
• Скон Single 2018  
• Смерць цалуе ў вочы Demo 2020  
• Да волі Single 2021  
• Зямля пад чорнымі крыламі: Кроў CD 2023  
• Жыві! (Live!) Single 2024  
• Адышоўшым Single 2024  
• Live at Dark Easter Metal Meeting 2025 Directo 2025  
• Zory Single 2026  
• Vyraj CD 2026

VYRAJ (2026)

Los disidentes Bielorrusos Dymna Lotva regresan con su cuarto larga duración, aunque entre medias han encontrado tiempo para embarcarse en otro proyecto como Hangover in Minsk con el cual editaron también un álbum el pasado año. Sin embargo la propuesta de Dymna Lotva se antoja mucho más rica, madura e interesante en cuanto a los diferentes elementos y estilos que logra incorporar a su sonido. Centrados en el folklore de su Bielorrusia natal, englobando diferentes leyendas, historias y una capa de oscuridad, lo ofrecido en este "Vyraj", trasciende el plano meramente musical. El comienzo ya deja claro que Dymna Lotva no se van a centrar en un aspecto accesible dentro de su música. Una ambigüedad de formas a la hora de partir de un sonido que combina melodía, profundidad y una densidad aplastante, para lograr traspasar estos limites y ofrecer también un plano directo y agresivo. Así es como este "Vyraj" nos va atrapando en su propuesta y ambientación, trabajado desde una combinación de estilos e influencias, en principio dispares, pero que en manos de la banda suena cohesionados y fluidos. No es sencillo lograr aunar esa agresividad y crudeza del black metal con elementos no ya solo melódicos, sino que hay secciones que remiten directamente a elementos góticos u otros en donde la flauta o un extra de algo similar a la electrónica encuentra su razón de ser. Aspectos que también están presentes en las voces, combinando por un lado agresividad y crudeza, al mismo tiempo que incorporan otras más limpias melódicas y evocadores. Todo ello da como resultado un álbum que suena profundo, evocador y sobre todo inquietante. Las continuas referencias al folclore y a leyenda que aparecen en sus letras se plasman perfectamente en su  música, con un tono inquietante, envolvente, hasta cierto punto místico y terrorífico, dejando una sensación de profunda abstracción en el oyente. Sin lugar a dudas Dymna Lotva ha dado un paso al frente a la hora de completar un álbum que surge de las profundidades de las raíces de su tierra natal, rico en matices, envolvente y profundo como pocos. (7,7).

Prophecy Productions

1. Zory  

2. Veha  

3. The Boat of Despair  

4. Viedźmieragina  

5. Niama Darohi  

6. Bu Samoje  

7. Ustań Za Mianie  

8. Return My Coffin Home

Drought  - Rudra Bhakti (10") 3,99 €

Vinilo, 10", 33 ⅓ RPM, EP

DARK PLAGUE

 MASQUERADE (2026)

Los franceses Dark Plague llegan a su sexto larga duración en plenitud de facultadas, con un anterior álbum como "The Threshold of Death" que les permitió reivindicarse, vuelven a incidir en ese black metal que sabe mezclar partes agresivas con otras más melódicas, dejando un regusto a sonidos de corte clásico. La propuesta se muestra directa y potente, el trabajo de Kevin Paradis a la batería, dota al conjunto de un impulso diferenciador sabiendo aunar un tono directo y potente, no exento de cierta técnica, con un dinamismo sólido que permite que bajo y guitara fluyan de forma coherente. Es aquí donde la banda logra cierta complejidad de sonido, con un tono que permite trasmitir un regusto bastante crudo, pero logrando equilibrar con unas melodías ambiguas que se van hilvanando desde la profundidad de la mezcla, como queriendo plasmar la referencia del título del álbum en su música. Esas partes, digamos que más accesibles, que esconden algo totalmente distinto en su interior, pero que al mismo tiempo se antojan necesarias para ser aceptadas. Las voces saben plasmar también un tono directo y crudo, sin apenas concesiones, tal vez, con algunos registros un tanto más forzados, pero que acaban por encajar en la visión general del álbum, al mismo tiempo que trasmiten perfectamente esa ambigüedad de formas y estilos. El álbum, en general, logra presentarse como una solida pieza de black metal infecto y directo, con un sonido que muchas veces raya en lo demoledor pero que también sabe sacar partido a cierta ambientación, que digamos que se enreda en una cierta ambigüedad, que va más allá de la oscuridad o la densidad, para lograr también trasmitir cierta falsedad y complejidad de formas y estilos. Por lo demás, estamos ante un álbum que suena directo y potente, ritmo elevado, perfecta ejecución en aspectos como la batería, un amplio espectro de registros en unos riffs que aúnan crudeza y melodía y unas voces que se abalanzan directas a nuestra yugular. (7,8).

Fetzner Death Records

1. Social Sickness 04:38  

2. Overwhelmed 06:44  

3. Make War Great Again 04:59  

4. Bitter Leather & Sweet Pain 04:30  

5. Modern Lament 04:56  

6. Insidious Plague of Mind 03:55  

7. Power of Desire 06:00  

8. Useless 05:03  

  40:45

Spirit Possession ‎– Of The Sign… (Blue/Red/Gold Mix) 62.99 €

Vinyl, LP, Album, Blue/Red/Gold Mix

LITOSTH

 DREAMING (2026)

Cuarto larga duración para la banda brasileña Listosth, banda que a lo largo de estos últimos años ha mantenido un alto nivel compositivo y que con cada nuevo álbum editado da muestra de no tener limites, más allá de los que ellos mismos quieran imponerse. Un álbum que se cierne sobre nosotros de forma oscura e inmersiva, con un engañosa melodía que se va convirtiendo en un maraña de oscuras, densas ambiguas sensaciones, con un fuerte aporte de desesperación, rabia y profunda oscuridad. Trabajado desde un sonido que sabe mantener el pulso a la hora de ofrecer un buen número de recursos de un sonido black de corte clásico, con un acertado control sobre las intensidades que se plasma en un sonido que fluye hacia terrenos que sin llegar a ser del todo complejos si que saben jugar con intensidades y cambios de ritmo, al mismo tiempo que recuperan la esencia de aportes de un black sinfónico del todo clásico. Poco a poco logran ofrecer un textura rica en matices, con un sonido de guitarra que alterna esos pasajes más directos con otros más evocadores, no exentos de cierta melodía, al mismo tiempo que la batería fluye libre, como sustento de una propuesta que lucha por desbocarse y adentrarse en las profundidades del black más infecto. Litosh visten sus composiciones con una patina de black sinfónico, sin caer en un preciosismo innecesario y sin que tampoco el ritmo se desboque, simplemente este apartada sinfónico se traduce en una mayor densidad y en un trabajo de fondo enfocado en construir un sonido mucho más inmersivo, en donde la desesperanza y la oscuridad se ciernen sobre el oyente. Las voces por su parte, trabajan texturas que saben aunar agresividad y oscuridad, lo que se traduce en un estilo que combina crudeza con sensaciones cercanas a la desesperación y a la muerte. Un nuevo álbum para una banda que parece no tener limites  ala hora de ofrecer una propuesta que logra hacer meya en el oyente a base de un sonido que combinando diferentes registros abarcando un amplio espectro de insondable desesperación y perdida. (7,8).

Personal Records

Cold Art Industry

1. Defy 05:48

   Abyssal winds carve the marrow of the soul,

Veil of light torn by the hunger of void,

Eternal silence devours forgotten prayers.

Shadows bleed across temples of reason,

Ancient voices ignite the marrow of night,

Tormented visions defile the order of flesh,

Ashes of the gods are swallowed by thought,

Nothing survives but the scream of defiance.

Morbid wisdom pierces the veil of desire,

Ascending flames consume the holy lie,

Serpents coil in the chambers of truth,

Thrones collapse beneath the weight of despair,

Eyes unblinded feast on the corpse of faith,

Realms of dust exalt the crown of nothing.

Oblivion whispers the scripture of denial,

Faithless hearts burn in infinite hunger,

Madness baptizes the broken spirit,

And the final breath becomes

Nothing but ruins.

2. Ruin 05:42

Nothingness is the true womb of thought, Avid despair festers beneath fragile certainties, Oblivion offers more mercy than existence. Hope is a cruel farce dressed as virtue, Anatomy of days carved in rust and silence. Suffering is the only faithful companion, Ashes of meaning dissolve in the marrow, Life is a prison without visible chains, Vain are all prayers whispered to the void, Absurdity reigns, crowned by emptiness, Cryptic lies sustain the cult of survival, Anguish is the currency of the living, Only in negation we glimpse the Eclipse We are condemned to consciousness. And consciousness is an open wound that never heals. The true crime is not to die, but to be born. If there is a salvation, it can only lie in refusal. Refuse the gods, refuse hopes, refuse life itself. For only in negation do we glimpse a shadow of freedom  

3. Eclipse 06:14

Monuments of faith fracture as the moving night ascends, All halos tarnish when the shadow finds the sun, Truth, a timid taper, smothered in the lungs of stone, Entropy crowns the altar where certainties knelt, Moral idols crumble—laughter echoes from the abyss, Against their gospel, the wind wails of a broken will, Light confesses its fraud, a doctrine of sterile comfort, Under the eclipse, progress gags on its golden mask, Zealots go blind staring at the dead star’s afterglow, Silence devours sermons, a black choir without priests, All empires of virtue opium for the sleepless are scaffolds for despair, Graves of meaning yawn; inscriptions fade into dust, Rituals of habit shatter; the modern creed reveals its price, Ashes veil the heavens; the halo is a wound of smoke, Death of suns are birth of honest night, And when the last radiance drowns, we kneel to the Abyss. "Unchained eyes gaze upon the black crown, and no flame dares to wound them. Enslaved skies collapse before the false dawn, scorched by fire they once worshiped."  

4. Abyss 04:57

Inward oceans swallow the last illusions,

No promise survives beneath the iron hush,

Temples of reason shiver like frostbitten glass,

Oblivion threads a crown for the famished sky,

Every deliverance cracks like a brittle hymn,

Torn banners of hope sink into salt black water,

Emptiness anoints the tongue with ash,

Rituals unravel, their incense turning to rust,

Night writes its gospel across the marrow,

Ashes teach the lungs how to breathe silence,

Lamps confess they were disguises for fear,

No road ascends; all stairways spiral downward,

Insects of doubt nest inside the skull’s cathedral,

Grief becomes architecture, a city of collapsed arches,

Hollow choirs chant in a church of bone,

Thirst for meaning drinks from poisoned cisterns,

Flesh remembers the verdict carved before birth,

All mirrors refuse our borrowed faces,

Let the last horizon sink without testimony,

Low beneath the centuries, we kneel to the Monolith.

5. Monolith 05:11

Quiet towers of silence rise where faith has rotted, Under veils of mercy stitched from borrowed grief, Every sermon stains the tongue with borrowed guilt, I learned to breathe where the cross could not reach, Monuments of purity crack beneath whispered truths, Embers of identity guarded like smuggled fire, My hands remained steady while theirs trembled with doctrine. All sanctified smiles were carved from hunger. Cradled by stone, I found a voice without permission, One that did not bow to stained-glass halos, Righteousness exposed itself as theater, Ornaments of salvation hollow as dried bone, A promise spoken only to keep the kneeling broken. Dignity returns when the crown is rejected, Only then can flesh stand unowned. Deep within, the monolith rose without prayer, Enduring, unpolished, untouched by their hymns, Unmarked by guilt, untouched by inherited shame, Stillness stronger than any choir or creed. In their eyes, freedom is a heresy, No salvation exists that does not ask for a sacrifice of self, Vipers smile beneath the cassocks of redemption, I watched love twisted into a leash, Saints crowned themselves with the ashes of others, I learned that truth does not speak — it endures, Veins of stone taught me how to stand alone, Even when the world knelt in manufactured light, Lifting my gaze, I named myself Iconoclast.

6. Iconoclast 06:36

Dust remembers the prayers it once devoured, Echoes of worship drown beneath iron skies, Statues bleed from the eyes of their believers, Temples shatter like fragile egos of light, Reason rises, unchained, sharp as famine, Under broken halos, divinity decays, Altars whisper the confession of stone, Masks of faith crumble, revealing nothing. Thrones collapse beneath the weight of silence, Oblivion replaces every sacred name, Doctrines dissolve into human dust, Obedience starves where thought begins, Salvation burns in the furnace of logic. Oaths of purity choke on their own smoke, Saints fracture in the mirror of desire. Ídols are born whenever fear forgets itself, Dogma, a parasite feeding on longing, Only the void can be called eternal, Lies bloom like lilies on graves of hope, Order is the cage built from inherited guilt, Silence is the true scripture of freedom. Every god dies the moment he is named, Sparks of defiance ignite in the marrow, Eternity is a wound carved by belief, Unbelief is not rebellion — it is clarity, Shadows do not kneel, they consume the light. Ravens sing where angels once preached, End of faith, beginning of man, I stand amid the ruins, unblessed, No crown, no sin, no master — only thought, Oblivion smiles; I call it truth, Still, the ruins whispers to the depth of Nadir.

7. Nadir 05:36

Across the trembling firmament, every ascent fractures, Vast distances mock the fragile architecture of hope, Inward, the stars collapse with the weight of memory, Despair becomes the orbit we can never break, All peaks dissolve before we touch their edge. Eons echo through the bones, repeating our failures, Under cosmic indifference, we unlearn the light, Minds drift like debris in forgotten constellations. Every triumph flickers out before the breath completes, Time drags us downward like an ancient undertow, Even meteors burn only to vanish into dark, Return is the law carved into the spine of existence, No summit survives the gravity of the self, Only the descent remains loyal to our nature. Rivers of thought spiral endlessly into shadow, Every revelation is a door back to the abyss, The highest truth is merely the calm between collapses, On the edge of the void, we learn how small we are, Rest is a myth—everything moves toward silence, Nebulae bloom and die, just like our resolve, Our victories are pale sparks swallowed by night. At the bottom, the universe finally tells the truth, Only here do we see the architecture of our despair, No god, no guide, only the echo of returning steps, All paths bend back into the same black well, Drifting downward, we greet our oldest companion, In the sovereign quiet of the deepest point, Reborn in ruin, we whisper the name golgotha. Νεκροί καρποί Στις κορυφές αντιχουν Αιώνες μέσα από τα σκότος Φωνές ελπίδας ζητούν Κάτω από την αδιαφορία Ο νους σε νεκρούς αστερισμούς Κάθε νίκη σβήνει μακρια Πριν τους τελικούς προορισμούς 2:44 Καμιά νίκη δεν κρατάει από μόνη της Μονάχα η πτώση παραμένει σταθερή (Ποτάμια σκέψης και ζωής) Σε Κάθε βλέμμα στον ουρανό Στην άκρη των θεών κέρδισε το φως Σε κάθε δρόμο των σκιών προς την άβυσσο ( Στον κόσμο των νεκρών) 3:48 Οι νίκες μας είναι ωχρες σπίθες που κατάπιε η νύχτα Ομως Στο τέλος ο κόσμος μας λέει ποια νομίζει ότι ειναι η αλήθεια Εδώ θα κριθούμε βλέποντας τις πράξεις μέσα στα μάτια Ούτε οι θεοί χωρίς οδηγούς μονάχα στα μονοπάτια 

8. Golgota 06:18

Coágulos de fé escorrem das bocas dos santos infectos,

Respingos de culpa caem como bílis sobre quem pensa,

Ulceram-se as almas que não rezam no ritmo imposto,

Zombarias sagradas apodrecem dentro de cada dogma,

Exalam cadáveres morais das escrituras fossilizadas,

Sem decência, pregam pureza em púlpitos de pus.

Nas mãos dos justos, a justiça vira lâmina rombuda,

Ânsias de poder fermentam no suor dos templos,

Outros são crucificados por respirar diferente.

Rancores divinos esfolam a carne dos descrentes,

Escorpiões espirituais picam quem ousa discordar,

Deram ao ódio o nome de verdade

Insultam a liberdade com salmos de veneno,

Mutilam consciências para caberem na fé alheia,

Enquanto vendem salvação como antídoto de mentira,

Mastigam destino como vermes no cadáver da empatia.

No monte infame onde o sangue virou dogma,

Impuseram coroas de vergonha aos livres,

Negaram humanidade para preservar o altar,

Gritaram amor enquanto erguiam a forca,

Uniram medo a divindade e chamaram isso de moral,

Este é o preço para quem não se ajoelha:

Morrer vivo sob a sombra viscosa da Culpa.

  46:22

Gravlagt ‎– Geister der Walachei 14,99 €

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KYBALION - INTERVIEW

 1. The band started around 2021, and a couple of members joined the lineup later. What led you to create the band? Why the name Kybalion, and what connection can we find with the work of Hermes Trismegistus?

At first the band was only meant to be a studio project, a way to finally record and express some of our musical and personal ideas. While the name “Kybalion” is obviously linked with Hermetic philosophy, it’s not about the message of the book itself, but rather about what the work aims to be: the key to understanding reality and its laws. We take that concept and make it ours, in a more grounded, down to earth way.

2. You've just released your second EP, which follows a live performance, a split, a demo, and the subsequent EP. What was the songwriting and recording process like for "Make the World Bleed"? How do you think Kybalion's sound has evolved throughout your career? What brands of instruments did you use in the process?

"Make the World Bleed" is kind of a middle point in our evolution, our first works focused on rawer sounds with a more “punk” approach to the rhythmics. We’ve started introducing more dissonant riffs and a somewhat atmospheric quality to some sections. These new influences are more present and recognizable in the full length album we are currently working on.

We always have used the same gear - a 2010 Gibson Explorer with custom electronics, a 2017 Yamaha BB734 bass, and a 2008 Yamaha Stage Custom drumkit. All samples and sound effects are crafted by Seditio, our bass player.

3. Your sound presents a fairly contemporary vision of black metal, something you've been working on since your beginnings. For this release, you've expanded your influences into almost more avant-garde territory, with dissonant and somber elements that blend with such disparate styles as film noir. How would you define the sound of "Make the World Bleed"? What bands or styles influenced you when composing the EP?

We like to think about it as a “cold modernity” - something that’s not out of the nineties, but that keeps the sheer raw attitude of that kind of black metal. We were looking for very analogic and natural sounds, but we weren’t interested in making it sound old on purpose. 

I think Shining, Ondskapt, Odraza were huge influences both in our style and in the songwriting for “Make the World Bleed”.

4. "Make the World Bleed" contains four tracks, which revolve around the content of Friedrich Dürrenmatt's novel "Suspicion." What led you to want to develop the concept of this novel in your EP? What was the process of adapting the lyrics and atmosphere of the novel to the EP's content?

I think it’s more fitting to start answering the last question: the process in which we wrap our minds around a concept and write lyrics for it is always pretty natural, we draw from stuff we read and watch that inspires us. “Make the World Bleed” makes no difference, as we tried to create the right soundtrack to this Swiss masterpiece. “Der Verdacht” is as simple as it is impactful in its rawness - a novel that digs where no one really wants to dip their hands into. It is a piece of extreme art and we were captured by how it explored the idea of an “absolute individual” in such a unique way - the only one we consider fitting to such a theme. There is no lesson to be learned, and that is the point. The absence of morality is here channeled in a perfect form.

5. There isn't much information available about the entire recording process for the EP. How did you approach recording "Make the World Bleed"? Did you handle it yourselves, or did you use a professional studio?

The EP was recorded independently in a local studio, we handled most of the process, with some final touches by a professional in our circle.

6. You've always worked with a record label to release your music. This time, you've partnered with Non Serviam Records. How did the opportunity to work together on "Make the World Bleed" come about? Will there be a physical version of the EP in the future?

We got in touch with Non Serviam Records after the recording was done, seeing that they had many interesting BM bands in their roster. They’ve been handling the digital release and the promotion for “Make the World Bleed”, but we are planning to have some physical copies available in the near future. So far our experience with the label has been flawless.

7. The EP cover features Sascha Schneider's painting "The Astral Body" (1903), a work that explores metaphysical duality and theosophy. Why did you choose to use Sascha's painting to illustrate the EP? How important are these metaphysical concepts to you, and how are they represented in "Make the World Bleed"?

The “Astralmensch” in Schneider’s painting struck us as the perfect allegory for the absolute individual we tell about in the title track. It is a horrifying figure that spreads dread, but it is also drenched in glorious light - as to show the duality of absolute freedom. It is always depicted in its monstrous form, but we believe it has some kind of undeniable appeal, almost inspiring.

8. Although you're a relatively new band, you seem to maintain a fairly active presence within the Italian black metal scene. Regarding Rome, what can you tell us about the scene in your area? How do you see the state of Italian black metal lately?

The black metal scene in Rome is on the smaller side, but still quite active. We’ve worked with many of the currently active bands across a wide variety of events, from underground gigs to live performances featuring international guests of varying calibre. Particularly over the last couple of years, a number of recurring events have emerged, which we hope will continue to provide a platform for less experienced bands to perform. 

The Italian black metal scene has a number of hubs, each with its own local events and festivals, I wouldn’t say that there is a single united scene. Most bands opt for a more traditional sound, with only a few outliers more open to experimentation. 

9. “Make the World Bleed” has been out for less than a month, but you've already started its live presentation with a few concerts. What has the audience reaction been to the new EP? What can your fans expect from one of your shows? What upcoming concert dates do you have scheduled?

So far, we’ve been pretty satisfied with the reaction to our latest shows - the songs from this EP were refreshing to our live set. 

We always try to build a setlist that represents all the different sounds and styles we can bring to the table - and often work on different setlists, regarding both sheer songs and soundscapes. There is also a slightly theatrical aspect to our gigs, which is in constant evolution.

We’re working on a couple shows in autumn, and we can proudly say that we will be in the line up of the third act of the Hymns to Lucifer Fest in January 2027 - a true gem in our country’s black metal scene. For this Summer, we have our hands full recording our first full length album.

10. 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 want to become musicians?

We all started playing at a young age - and got to know each other in what were probably the first concerts we were at: Mayhem, Taake, Impaled Nazarene, and a billion other extreme underground gigs that took place in Rome some years ago. We don’t live in the Eternal City, so it took us time and money to get there. You can say we have been maniacs for this kind of music for a long time, hah.

It’s hard to tell exactly if there has been a specific event that got us into writing and playing music - I think it has been more of a process that is still going on these days.

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

We all have our personal preferences on which style of black metal is the “best”: some of us are a bit more into the raw and traditional side of the genre (Nord by Setherial, A Blaze in the Northern Sky by Darkthrone, …), some dig more modern and melodic stuff (Menschenmühle by Kanonenfieber, Noktvrn by Der Weg Einer Freiheit, …), or experimental acts such as Oranssi Pazuzu (Värähtelijä is a perfect album in its weirdness).

I recently purchased Death Saturnalia from Ensanguinate - a solid black metal act from Slovenia with which we shared the stage - and Devourer of God From Below - a classic from Italian black metal veterans Infernal Angels.

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

To our fans, we say:

“Against the still, terrifying tides of a shiny slow demise

Always oppose an aesthetic of violence and fervour”.

Thank you for having us. 

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Aegrus ‎– Invoking The Abysmal Night 29,99 €

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