DAUÞUZ - INTERVIEW

 1. Dauþuz began its journey around 2016. Both members already had prior experience in bands like Idhafels and Wintarnaht. How did the idea of ​​starting a new project come about? What does the name Dauþuz refer to, and why did you decide to use it?

Aragonyth: Glück auf! That’s right, we’d both already had various experiences with other bands, and due to stagnation and the unreliability of other members, I’d decided to start something new. Working with Syderyth on Schattenthron and Idhafels had been quick and hassle-free, so he was my first port of call for vocals. Fortunately, he was won over by the music, and so Dauþuz was born. The name means ‘death’ in Germanic and was already in use before it was clear that mining would be the theme. It fits perfectly, of course, and I’ve always liked the sound of the word. 

2. As with your two previous albums, it seems you've divided them into two different releases, but one is a continuation of the other, hence the title of the recent "Todeswerk: Uranium II." What unites these two latest releases beyond the sound? Is there a clear difference between them, or could it have been released as a double album? What was your working process like for this new album?

Aragonyth: Originally, we had no intention of splitting the uranium theme – which is, after all, the main link between the two albums – across two albums. Once “Uranium” was finished, we wanted to quickly follow it up with an EP featuring a few quicker-paced songs, as the theme still had so much to offer. That then took on a life of its own and, well, it resulted in a whole other album. “Uranium” takes a somewhat more general approach to the subject, whilst “Todeswerk: Uranium II” focuses on post-war mining in Joachimsthal. 

The recording process was, as is usually the case, exactly the same. I actually write songs “all the time” and Syderyth picks out the ones he feels are suitable. We’re a very well-oiled machine in that respect. 

3. From your beginnings, you've always managed to connect very well with the public. While your albums aren't exactly "accessible," they seem to offer something that appeals to fans, especially with that balance between the more direct sections of pure black metal and that subtle line with a certain pagan component. What do you think your music contains that allows you to achieve this connection with the public? 

Aragonyth: Well, our music is certainly riff-heavy and rather melodic for the most part. Musically, I don’t see us as being at all inaccessible, even though we do, of course, have some quite extensive songs from time to time. Another point is that of personal connection. Many listeners have a connection to mining through their own family history and therefore have yet another, emotional bond with our music. I don’t think we should necessarily underestimate this factor. 

4. Another distinctive characteristic of your music is its subject matter. Few bands that I know of, apart from the French band Galibot, focus on themes related to mining. How did the idea of ​​creating a black metal band centered on such a particular and individualistic theme come about? What themes do you address with the new album? Does the music adapt to the lyrics, or vice versa?

Aragonyth: Unlike Galibot, though, we’ve actually been doing this for ten years now ;) Syderyth had been thinking about the idea for some time, and my brainchild of a new band came at just the right moment. I was taken somewhat aback at first, to put it mildly, but if you think about it, things don’t get much darker or more death-laden than old mining, in particular. 

I’ve already written a bit about the album’s theme. I’d say that, after so many years, we’ve ‘found our feet’ both musically and lyrically. There was certainly a lot of trial and error at the start, but now we know what we want. That’s why the music relates to the theme, and vice versa. 

5. Just like with your previous album, you worked with Patrick W. Engel of Temple of Disharmony as producer. Was this something you already knew you wanted, given the connection between the two albums? What do you think Patrick's work brought to the table?

Aragonyth: It does link the two albums, yes, but every master is slightly different, and I think the sound on this one marks the biggest difference in our discography. But apart from that, Patrick W. Engel simply does a brilliant job. He gives the album that certain something that ultimately makes all the difference. 

6. Werewolf is credited as a session drummer on the new album. What were you looking for by bringing Werewolf on board? How did you get in touch with him, and how did this collaboration come about?

Aragonyth: He got in touch with us a while ago because he wanted to cover one of our songs for his YouTube channel. It worked out so well that we started talking about recording an album, and that’s pretty much how it all began. His playing brings a different, unique dynamic to the music, which we think really suits it. 

7. Since around 2020, first with a series of reissues and then as a leading record label, you've been associated with Amor Fati. For them, it seems like a really significant commitment; we could almost say you're the flagship of their catalog. How did this connection come about, allowing you to collaborate on releasing your music with them? What does Amor Fati offer you compared to, for example, Naturmacht Productions, your previous record label?

Aragonyth: I’ve known M. from Amor Fati for quite some time now, as we’ve often bumped into each other at gigs and I’ve always been – and still am – a loyal customer of his, haha. He just struck up a conversation with me one day and that’s how we ended up staying with him. I don’t want to go into internal matters or give any details here, but we feel very well looked after by him and he’s happy too, so it’s a win-win situation. There’s no reason for us to change anything about this. 

8. Luciana Nedelea is credited with the cover design, which features a connection between mining and a touch of fantasy. Why did you decide to work with Luciana? What does this cover represent, and how does it relate to the album's content?

Aragonyth: Luciana is simply incredibly talented at creating atmospheric landscapes and images. This is particularly true because they are genuine oil or acrylic paintings. The cover depicts a (slightly exaggerated, of course) landscape inspired by the Red Tower of Death in Joachimsthal. Syderyth visited the location and took some photographs, which served as the basis for the artwork. Some of his photos can be found in the booklet as well. 

9. You've been active with previous projects since the nineties. What's your impression of the evolution of the German black metal genre over these years? What similar bands would you recommend? Do you think it's easier to reach a wider audience these days, but that quality is sacrificed for quantity?

Aragonyth: It’s certainly not any easier to reach people, as there are far too many bands flooding the market with releases every day. It’s hard enough as it is to pick out the few decent releases from the lot. Black metal, both in Germany and generally speaking, has certainly become a bit more diverse in its styles, both lyrically and in terms of musical influences; that’s undoubtedly – alongside the sheer volume – the biggest difference. 

10. Many bands don't consider playing concerts, sometimes because they don't have enough members, as might be the case with you, and other times because they simply refuse to perform live. What's the specific situation for you?

Aragonyth: Since Syderyth plays live with Wintarnaht, you could say that I’m the ‘problem’, haha. I’ve got little interest in spending my energy practising old material rather than creating new stuff. I simply lack the experience, too. 

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?

Aragonyth: Metallica were a truly pioneering band in this respect, and my cousin introduced me to them at a very early age. They were also one of the first bands I ever saw. 

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

Aragonyth: We’re both big fans of the ‘classics’ from the 90s, which for us perfectly encapsulate the essence of black metal. Be it early Darkthrone, Immortal, Burzum, Mayhem, Dissection or also bands like Kampfar and Mörk Gryning. We also enjoy second- or third-tier bands such as Vintersemestre, Vargavinter and the like. The last record I bought isn’t black metal at all: "Buzz Factory" by the Screaming Trees, which I’d previously only had on CD. 

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

Aragonyth: Thank you for your interest and for your interesting questions. Glück auf!

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Gaerea ‎– Gaerea 49,99 €

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

URKRAFT - INTERVIEW

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

Thanks for taking interest! Things are going fine here, if a bit slowly. As the one-man operation Urkraft is, there are a lot of things to keep track of, and now I'm also planning to launch new merch.

    1. In the past, you were part of bands associated with styles like death metal and progressive metal. However, around 2014, you decided to launch your own project, more focused on a style like black metal. What led you to create Urkraft? Why did you choose this name, and what does it refer to?

That's not entirely accurate. I played in Astaroth, a black metal band, for longer than both Unspoken and Sarpedon. And when Urkraft was formed, black metal was a natural choice as it was formed by Astaroth's non-original memebers at that time, since the only remaining original member lived in Germany, and it halted our progress. So at the beginning it wasn't “my own project”, even though I wrote all the songs and came up with the name. Though after a while conflict arose, and by 2017 it had become a solo project, which turned out to be a blessing in disguise, as it forced me to take all the roles and learn the tools I needed to learn to essentially do everything myself, which in turn have given me absolute power to do whatever I want.

As for the name, which means “Ancient Force”, it just felt natural. I have always felt a connection to nature, combined with a great fascination for deep time, and the aeons that have passed before there were any humans at all. 

       

    2. The first album took almost six years to arrive, but since then, there's been a certain regularity in terms of releases, maintaining a rate of one every three years. What happened that caused your self-titled debut album to take so long to arrive? What was the songwriting process like for your most recent album, "Naturens skrik"? How do you think your sound has evolved between your last two releases? What brands of instruments did you use to compose the album?

The reason the first took so long was of course all the things I mentioned above. It was first recorded in 2015, but most of those recordings couldn't be used, and had to be redone. It was then I decided to try to learn the tools myself, and never having to rely on someone else again, save for mastering. It has saved my a lot of headache, and has streamlined the process  as I've become more and more proficient using DAWs.

The song writing process of “Naturens Skrik” has been very intuitive, as I've learned to trust my musical instincts. As with previous albums, I used Guitar Pro to write the music, but the difference this time was that I already had a well of material before sitting down and writing. The reason for this is that I've gotten into the habit of playing my synth every day, always trying to come up with new melodies. And playing the synthesizer, while also exploring a lot of different genres, from opera to ambient and dungeon synth; has opened up a whole world of possibilities – a whole world of melodic structures, all complementing each other, creating a greater whole, and with great atmosphere and emotion.

So I've learned to exploit these techniques. I always try to find one or a few central themes to a song, and have variations on those throughout the song. 

As for the instruments I used, I used Schecter and Ibanez for most of the guitars, with Yamaha for accoustic guitar and bass. I used Korg for the synths, one digital and one analogue. 

      3. Black metal seems a bit too vague to describe its sound. Listening to "Naturens skrik," one discovers quite elaborate atmospheres, where the ambiance plays a fundamental role in conveying different sensations to the listener, including the immersive quality of the sound. How would you describe the sound of "Naturens skrik" to someone who hasn't heard it yet? What bands or styles influenced the album's composition?

This is a tricky question. Simply “black metal” as a descriptor just don't cover it anymore, I feel. It has evolved past that now, but exactly what to attach to it, is difficult to decide on, and it has been described as “atmospheric”, “symphonic”, and “progressive”; which are all true. This is because I don't really care about labels, and am not afraid to break rules and do un-orthodox stuff. I think perhaps “cinematic black metal” would be a good descriptor, even if it's not an official genre. That being said, I also had a general idea – a half forgotten memory – of the early sounds of melodic/symphonic black metal, like Ulver, Troll, Burzum, and Arcturus. That is to say, I didn't actively listen to those bands at the time, but rather more experimental bands, like Oranssi Pazuzu, Dødheimsgard, and Astrosaur, not to mention all the ambient, dungeon synth, and classical music. Artists/bands like Vangelis, Hans Zimmer, Howard Shore, Gustav Holst, Tales under the Oak, Delmak-0, Erreth-Akbe, and Trollslottet, has thaught me a great deal about not only atmosphere, but also musical story telling, and I've tried to incorporate that on a fundemental level. My aim is to take the listener on a journey in a similar manner that Tolkien takes you on a journey when you read his books.

       

    4. Its themes have a nature component and certain fantasy influences, so to speak. Where do you find inspiration for your lyrics? What specific themes does "Naturens skrik" address? Do the lyrics adapt to the music, or vice versa?

Inspiration for my lyrics I find everywhere. In a highly digitalised world, I find we've become more detatched from nature, both externally and internally. The overarching theme is about showing mankind, and all its flaws, in a critical light. 

I always write the music first, but I also have a general sense of the themes I want to explore. So when it comes to writing lyrics, I usually have a few topics in mind which I pair with songs I feel fit the vibes of the lyrics.

       

    5. There isn't much information available about the recording, mixing, and mastering process of the album. Was it a solo process, or did you collaborate with a professional recording studio?

Except for mastering, which was done by Jack Conrow (Jack Control), I've done everything myself, even artwork. That means I can continue to perfect the album by adding more elements, even when “all” the recording is done. 

       

    6. The album has been released by the record label Dusktone. How did the contact come about, and how did the decision to work together on the release of “Naturens skrik” come about?

I simply sent in a demo request via their online form, and they liked it, and wanted to sign it, and Dusktone was one of my top choices of label, so it was a no-brainer.      

    7. You also created the cover art for the new album. What inspired you to create this drawing? What does it represent, and how does it relate to the album's content?

The title “Naturens Skrik” was inspired by the text Edvard Munch wrote that accompanied his famous painting, “Scream”, which reads the following (translated from Norwegian):

“I was walking along the Road with two Friends  

The Sun was setting – The Sky turned / blood red – and I felt a wave of Sadness – I stood still tired to Death – above / the blue-black Fjord and City blood and Flaming Tongues hovered   My Friends walked on – I / remained behind – shaking with Angst – I felt the great Scream in Nature.”

And thus the artwork was inspired by the title. I simply wanted to illustrate “nature screaming”, using natural elements to create a screaming face. It's a weird mix of Salvador Dalí, Theodor Kittelsen, and Edvard Munch, and the cover of King Crimson's “In the Court of the Crimson King”. All that mixed in with my own observation, and interpretation of nature.

       

    8. Norway was a fundamental setting for the birth of a genre like black metal. What remains today in a city like Oslo of the essence of those early years? What bands can you recommend?

To be honest, I'm probably not the right person to ask. Making the music of Urkraft is a rather isolating experience, detatched from much of the things going on around. So I'm not quite up to speed on what's happening. But I can name drop a few, since I know the people playing in them: Tilintetgjort, Urarv, and Mulm. The last one I did clean vocals on, so I'm kind of biased, but I think it sounds quite good in general!

       

    9. Will you keep Urkraft as a studio project, or are you considering recruiting other musicians and playing live shows someday?

It will probably be a studio project, until it isn't. I DO want to play live someday, but it's not top priority at the moment. I have already “written” a lot of material for the text one, just stored in my mind. I'm afraid I'm too fond of creating new music, to have time to put together a band. Maybe in an album or two.

       

    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 life pushed you to want to be a musician?

We learned to play guitar, on a pretty basic level, in our music classes in Middle school, but I wanted to do more complex stuff than simply playing the same 3-4 chords over and over. So I got my first guitar, an electric one of course, when I was 15. In the beginning I just played freely, with no thought to tempo, tuning, or technique. But that got better when after I had some evening guitar lessons, and beyond that, pretty much everything is self thaught.

The first album I bought was “Korn – Issues”, but I quickly moved on to better acts, like Iron Maiden

And the story is similar with the concerts I attended. When I was 16 I was at Roskilde, and saw Korn and Slipknot, among others, but none of the bands on that festival left an impression with me. But when I was 17 I got to see Iron Maiden for the first time, and I still consider it one of the best concerts I've been to.

       

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

I would have to say Mayhem's “De Mysteriis Dom Sathanas”, given its sound, but also the history surrounding it. However, Ulver's “Bergtatt” lies much closer to my heart.

The most recent album I bought was Sunn O))) - “Sunn O)))”, which I bought when I saw them play in Oslo not long ago.

       

    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 Urkraft fans, this is the place. I hope you enjoy the questions.

As mentioned before, I'm in the process of having merch made, like patches, buttons and posters. I'm also working on a T shirt design, but it's not quite ready yet.

Thank you for the interview!

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Theodor Bastard ‎– Oikoumene (Gold & Orange Mixed) 44,99 €

Vinyl, LP, Album, Limited Edition, Reissue, Remastered, Gold & Orange Mixed

WALG - INTERVIEW

1. Walg started around 2021. How did the idea for Walg come about? Why did you choose this name, and what does it refer to?

Walg started in 2021 as an experiment between Robert and Yorick. The collaboration clicked immediately, and the combination of exploring a new musical direction, having plenty of creative energy, and the extra time during the COVID pandemic quickly turned the project into a serious band. The name Walg ("Disgust") reflects the themes we explore: disgust, melancholy, the darker aspects of human nature, and introspection.

2. You've remained committed to releasing an album every year. Why this commitment? Do you find it easy to stay fresh when composing new music for Walg, or is it becoming increasingly difficult?

In the beginning, we released music at a very fast pace simply because the ideas kept flowing. Nowadays, we take more time and are much more critical about what we release. We don't feel obligated to put out an album every year, but as long as the inspiration is there, we'll keep writing. Quality will always come before speed.

3. You recently released "VI." What was the songwriting and recording process like for this new album? How do you think your sound has evolved across your albums? What brands of instruments did you use in the process?

Almost the entire album was created in our home studios. Robert writes and records the music, after which Yorick writes and records the vocals. We then send everything back and forth several times until we're both completely satisfied. The album was mixed and mastered by Merijn Middelweerd.

Over the years, our sound has become more mature, dynamic, and cinematic in a way, with a stronger focus on detail and arrangement. We use a variety of guitars (electric, acoustic, mandoline), accordeon, flute, vuilin and software instruments.

4. With each new release, it seems you take your sound a step further in that combination of aggression and melody. This album, "VI," is no exception, and what's presented here exudes rage and melancholy. How would you describe the sound of the new album to someone who hasn't heard it yet? What bands or styles influenced you when composing "VI"?

VI combines the melodic black metal of the '90s with a modern approach. The album balances aggression, melancholy, and atmosphere while making extensive use of melody, orchestral layers, and dynamic songwriting.

Our influences include bands such as Old Man's Child, Borknagar, Dark Fortress, and Dimmu Borgir, as well as classical music, folk, and many other styles within metal.

5. Your lyrics have a strong emotional charge, as in the song "Eenlonkster," with existential themes, witchcraft, etc., while also using your native language. What specific themes do you address in "VI"? Did you always know that Dutch would be your way of expressing yourselves with Walg?

On VI, we explore Groninger folklore, local history, personal experiences, and universal emotions such as loss, fear, hope, and the unknown. "Eenlonkster," for example, is based on a poem written by Robert's father.

From the very beginning, it was clear that Dutch was the right language for Walg. It allows us to tell these stories in the most authentic and emotionally honest way possible.

6. You collaborated with Merijn Middelweerd for the mixing and mastering of the new album. Did you handle the rest of the process yourselves? Who is Merijn Middelweerd, and why did you decide to work with him?

Apart from the mixing and mastering, we handled virtually everything ourselves. Merijn Middelweerd was responsible for the mix and master, helping bring the album to a higher production level.

We chose to work with him because his approach and sound matched our vision perfectly, and throughout the process he left plenty of room for feedback and fine-tuning until everything felt right. 

7. You've forged a partnership with the record label Zwaertgevegt, who have been involved from the beginning in the release of this new album. How did this relationship, which has been in place for several years, come about? Have you considered exploring other options for releasing your music?

Our collaboration with Zwaertgevegt developed naturally through a shared passion for the music. We really appreciate their personal approach and the complete freedom they give us.

8. All your albums seem to share a common thread in their cover art, allowing for interpretation while maintaining a cold and somber tone. Who designed the cover for "VI"? What is the meaning behind this cover, and how does it relate to the album's content?

The artwork is a still from the videoclip for the opening track ‘Nevel’. The moment we were on location for filming we knew THAT would be the album cover.

Rather than illustrating everything literally, the artwork supports the emotional and folkloric themes while leaving room for the listener's own interpretation. 

9. Since 2025, you've collaborated with Jessica Otten and Frank Schilperoort, initially as live musicians. How did the idea of ​​bringing them on board to perform your music live come about? Is there a possibility that they might become full members of Walg in the future?

We wanted to present our music live in the strongest possible way, so we started working with Jessica Otten and Frank Schilperoort as live musicians. They help translate our studio productions into powerful live performances.

For now, they remain live members, while Walg continues to function as a duo in the studio.

10. How do you think things have changed in the six years you've been active in the Dutch black metal scene? How would you describe the extreme metal scene in a country like the Netherlands today?

Although we're still relatively new to the black metal scene, we've always felt incredibly welcome. First and foremost, we consider ourselves metalheads rather than belonging to one specific subgenre.

The Dutch extreme metal scene although small, feels open, passionate, and diverse, with many dedicated musicians and enthusiastic fans.

11. What were your beginnings in music like? 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've both been listening to metal since our teenage years, eventually discovering black metal through many different styles of music. That passion gradually grew into the desire to create music ourselves. Walg is our first project fully dedicated to black metal.

My gateway into (black) metal went something like this: AC/DC > Twister Sister > Slayer > Satyricon hahah. First concert attended was Cynic at 013 in Tilburg. A pretty legendary band I did not know at the time but was happy to attend as a young metal head.

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

It's difficult to point to a single album as the essence of black metal. The classic releases from the 1990s & early 00’s remain a huge source of inspiration, but we're equally inspired by modern bands, folk music, and classical music.

We listen very broadly and are constantly discovering new music. One of the important albums that influnced us is The Pagan Prosperity by Old Man’s Child.

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Waawoono ‎– Sky Wolf Trail 14,99 €

Cassette, Album

SOJOURNER

 

Origen: Nueva Zelanda, Suecia

Formados: 2014

Estilo: Atmosferic black metal épico

Temática: Fantasia y naturaleza

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

Miembros:

• Emilio Crespo Voces
• Heike Langhans Voces
• Mike Lamb  Guitarra, piano y teclados
• Mike Wilson Bajo
• Riccardo Floridia Batería

Discografía:

• Heritage of the Natural Realm Demo 2015  
• Empires of Ash CD 2016
• South Away Single 2017  
• The Shadowed Road CD 2018
• Premonitions CD 2020
• Perennial EP 2021
• Doom or Be Doomed Split 2022  
• Epitaphs Single 2024
• Gateways CD 2026

GETAWAYS (2026)

Cuarto álbum para Sojourner, una banda que irrumpió con fuerza en la escena, entregando tres álbumes iniciales de gran factura, para después adentrarse en un período más sombrío en el que apenes ha sido editado material nuevo, pero que sirvió para la inclusión a las voces femeninas de Heike Langhans, lo cual ha supuesto para la banda el comienzo de lo que seguramente será una nueva época. "Gateways", se presenta como un álbum de un sonido elaborado, en donde un tono sombrío, melódico, oscuro, no exento de cierta agresividad, va desgajando los temas. Temas que por otra parte se muestran ciertamente elaborados, con un amplio espectro de registros e instrumentos la servicio del oyente, lo cual permite construir secciones la mayor parte de la veces emotivas. Hay un buen equilibrio entre agresividad y melodía, entre contundencia y un tono más evocador, entre un trabajo distendido a la hora de lograr dibujar un paisaje con un gran número de matices, en donde el oyente se puede dejar mecer en las mieles de la tristeza, la naturaleza y de paisajes fantásticos, pero siempre con un regusto a oscuridad, frialdad y cierta inquietud. A instrumentos comunes en un banda de metal, como las guitarra, batería y bajo, se suman con acierto la inclusión de teclados, que tanto sirve para ejercer un efecto catalizador de intensidades, como para fluir libres y adentrarse por eses pasajes impregnados de melancolía y soledad, pero logrando conservar estructuras ricas en matices y recursos que nos regalan secciones ambiciosas y majestuosas. Sin embargo un elemento fundamental para entender toda la dimensión de este álbum tenemos que buscarlo en las voces, el trabajo de Heike se muestra soberbio y esos duelos entras voces masculinas en la figura de Emilio y las suyas son plenamente disfrutables, dotando al conjunto de cierto dinamismo con un enfoque de agresividad y dulzura entre ambas. Un álbum que se antoja necesario a la hora de poder seguir disfrutando de esos sonidos más atmosféricos y evocadores de una sección dentro del black metal, del cual Sojourner son un pilar fundamental. (7,9).

Avantgarde Music

1. Dawnrays 07:37  

2. And the Paintings Fall 07:28   

3. Lunar Tear 05:18   

4. Occultation 07:12  

5. Epitaphs 06:51  

6. Vvardenfell 06:36  

7. The Road Ahead 06:10  

  47:12

Selvans  ‎– Saturnalia (gold vinyl) 39,99 €

Vinyl, LP, Album, Stereo, Gold vinyl

SEVEN CHAINS

 

Origen: E.E.U.U., Coeur d'Alene.

Formados: 2016

Estilo: Black experimental, death.

Temática: ?

Enlaces: ?

Miembros:

• Chris Sceaga Batería
• Noah Coleman Guitarra, piano y voces

Discografía:

• Seven Chains CD 2016  
• Thus She Speaks, the Spiraling Maranatha CD 2020  
• Swollen, In Flux CD 2026

SWOLLEN, IN FLUX (2026)

Con ya una década de trayectoria a sus espaldas, los estadounidenses Seven Chains afrontan con todas las garantías de contar con una formación consolidada y la siempre interesante inclusión de acertados invitados, la edición de su tercer larga duración. Un álbum que nos atrapa en su enfermiza atmósfera que surge de la mezcla de un sonido blackened con un putrefacto e infecto death metal. Es cierto que la banda se emplea con mano firme a la hora de ofrecer un sonido que muchas veces le debe un buena parte de lo propuesto a esa fata más experimental del mismo, elementos que surgen de una estructura muchas veces repetitiva, otras caótica, pero siempre enfocado en construir una masa pastosa en informe. Desde le comienzo del álbum somos participes de esa facete más densa, profunda y caótica de unos registros que parten tanto de un sonido blackened, como sobre todo de una caótica interpretación de un estilo como el death, del cual conserva esos registros violentos y densos, pero que Seven Chains enfoca y explota hacia la densidad y la oscuridad más impenetrable para sembrar el caos en el oyente. El álbum funciona como arma de destrucción masiva, con un ritmo que sin ser del todo elevado, si que resulta por momentos lacerante, rodeado de una ambientación pastosa y cargada que conforma un tétrico entramado en torna la cual la banda ha sabido plasmar unos registros inquietantes e inmersivos, Los riffs se trabajan hacia la densidad y profundidad de los mismos, aportando al sonido un tono mucho más decadente y pesado, funcionando como una carga extra de profundidad. No podemos olvidarnos por supuesto, del carácter experimental que va rodeando al conjunto, en forma de elementos que casi se dejan atrapar por cierto tono industrial, ciertos enfoques más lineales del conjunto con un registro más místico y ocultista, junto con la inclusión de disonancias que aparecen para incidir en una mayor aberración sonora. Un álbum que no resulta accesible de buenas a primeras, pero que que poco a poco logra sumergirnos en las profundidades más odiosas, aberrantes y terroríficas de la mente humana. (7,9).

I, Voidhanger Records

1. Intro...  

2. Whence Blood No Longer Flows 05:29   

3. Every Flame Structured, Every Face Ablaze 05:07   

4. A Declaration of Vengeance  

5. ...Intro  

6. Gestating Ash (The Thickest Darkness)  

7. The Earth's Tentacular Cross

The Lion's Daughter ‎– Existence Is Horror (transparent green vinyl limited to 100 units) 18,99 €

Vinyl, LP, Album, Limited Edition, Green Translucent

MOURIR

 

Origen: Francia, Toulouse.

Formados: 2019

Estilo: Black

Temática:?

Enlaces: Bandcamp, deezer, facebook, instagram, Mourir y spotify.

Miembros:

• Alexandre Berenguer Guitarra
• Mahell Batería
• Olivier Lolmède Guitarra y voces
• Théophile Antolinos Bajo

Discografía:

• Animal bouffe animal CD 2020
• Disgrâce CD 2022  
• Hubris Single 2024  
• Insolence EP 2025  
• Nous, le venin CD 2026

NOUS, LE VENIN (2026)

Los franceses Mourir ya tiene listo el que será su tercer larga duración, un álbum que cuando menos, tiene la capacidad para dejar una huella imperturbable en el oyente. No es un álbum de sonido fácil, pero tampoco llega a ser complejo, se ha trabajado un entramado de recursos, que bajo mi punto de vista, logran una sensación bastante inmersiva que acaba por derivar en elementos inquietantes y perturbadores. La larga duración de los temas, en lineas generales, permiten a Mourir trabajar ese tono inmersivo y lineal de su propuesta, secciones casi que hipnóticas que nos van meciendo en un ritmo cadencioso y aletargado, para a renglón seguido arremeter con fuerza con un componente mucho más directo en su propuesta, no exento de cierta violencia y agresividad, la batería se hace mucho más presente, con un ritmo destructivo, las guitarras escupen riffs crudos y densos y las voces por su parte, se decantan por una propuesta desgarradora y llena de sufrimiento. Sin embargo lo ofrecido por Mourir en este álbum logra trasmitir mucho más, gracias sobre todo a los diferentes registros y estilos que logran ensamblar de forma totalmente coherente, por que en este álbum, trasciende sobre todo una atmosfera opresiva, un regusto inquietante que flota en todas la composiciones y un empeño por parte de Mourir de revolver nuestro estado de ánimo. Para ello "Nous, le venin" incorpora registros de post-metal, secciones con un componente industrial, tonos con carácter más lo-fi y un regusto a un hardcore crudo y directo en secciones que se pueden también fusionar con registros blackgaze, todo enfocado a un tono inmersivo e inquietante, denso, pastoso y oscuro, con sensaciones cercanas a la locura, a la demencia y a la muerte. La riqueza de registros también esta presente en la voces, capaces de presentarse con un enfoque profundo, casi que perdido en las mezcla, que puede en el  tema siguiente adoptar un registro más directo y crudo, para acabar con una faceta más limpia y coral. Sin lugar a dudas este "Nous, le venin", es un álbum que debería de dejar pegada en el oyente, necesita cierto tiempo para descubrir todo su potencial y también exige cierta predisposición para dejarse atrapar en ese ambiente casi que asfixiante que logra trasmitir, pero una vez esto suceda, solo queda dejarse devorar por la locura y la desolación. (7,9).

Pelagic Records

Total Dissonance Worship

1. Feu d’un regard  

2. Ennui Ennemi  

3. Mon rêve animal  

4. Je est absent  

5. Aux inutiles  

6. Nous, le venin

Suidakra ‎– Wolfbite 23,99 €

Vinyl, LP, Album, Stereo

FERALIA

 

Origen: Italia, Turín.

Formados: 2018

Estilo: Black

Temática: ?

Enlaces: Deezer, facebook, instagram y tidal.

Miembros:

• Erymanthon Seth Guitarra y voces
• Krhura Bajo
• Raijinous Guitarra, teclado y voces

Discografía:

Helios Manifesto CD 2019  

Over Dianam EP 2020  

Under Stige / Over Dianam CD 2022  

Ballata Avernale Single 2026  

Ultima Requies CD 2026

ULTIMA REQUIENS (2026)

Tercer larga duración para esta banda italiana ahora afincada en Suecia, en donde se nos presenta un black metal con elementos crudos y atmosféricos, centrado en la figura de Erichto entidad de la mitología romana, bruja tesálica, resucitadora de soldados fallecidos en el campo de batalla. El sonido de este tercer álbum combina esos elementos crudos, con un buen despliegue de riffs directos, con varias capas de guitarras, manteniendo un ritmo casi que hipnótico que ofrece también algunos registros casi que ritualísticos. Centrándose en un interpretación bastante cruda y árida del black metal, pero siempre teniendo como referencia un black de corte clásico por un parte, al cual se le ha rodeado de algunos elementos más actuales en forma de un sonido más  pulido hasta cierto punto. Los temas, gracia a su extensión, consiguen ir atrapando al oyente en un ambiente casi que inmersivo, los sutiles cambios de ritmo, unas veces aumentando la intensidad nos acaban por sumergir en una mayor agresividad, otras, con un descarado gusto por la bajada de intensidad donde se nos presenta un paisajes mucho más desolador, donde la muerte y la frialdad cobran mucho más protagonismo. Las voces por su parte afrontan una propuesta hasta cierto punto desgarradora, trasmitiendo sufrimiento y desolación, pero guardándose también recursos relacionados con la frialdad, la oscuridad y cierto aire de melancolía y padecimiento. El álbum logra sumergirnos en ees ambiente casi que místico, gracia a la combinación acertada de un estilo que parte de un black de corte clásico que se combina con elementos de un sonido más actual, sobre todo si prestamos atención a la concreción del mismo, a la par que somos trasladados a ese terrorífico ambiente de seres mitológicos vengativos. (7.6)

Aeternitas Tenebrarum Musicae Fundamentum

1. Ballata Avernale 08:01  

2. Ver Sacrum 08:05  

3. Pharsalia 09:22  

4. Empireo 05:20  

5. Marpiter 06:57  

6. Defigere 08:47  

7. Miasma 06:27  

  52:59

Holocausto Em Chamas ‎– לָשׁוֹן הַקֹּדֶשׁ 16,99 €

Vinyl, LP, Album, Limited Edition, White/Black Marbled

MORK

 MONOLITT (2026)

Con más de dos décadas de trayectoria a sus espaldas, la veterana one man bnad noruega Mork está de regreso con su octavo álbum de estudio. Un trabajo que mantiene el pulso con anteriores obras, pero que también da muestras de encontrarnos ante un proyecto que ha sabido madurar su sonido, encontrando un interesante equilibrio entre un sonido tradicional de black metal y una vertiente que recoge elementos propios fruto de la madurez de Thomas Eriksen como compositor. Así se nos presenta este "Monolitt", un álbum que de buenas a primeras logra sonar directo y hasta cierto punto agresivo, con un muro de impenetrable sonido enfocado hacia la oscuridad y la destrucción más absoluta. Manteniendo el pulso a la hora de lograr un sonido de batería que sabe empujar con fuerza cuando es necesario pero que también equilibra intensidades a la hora de de permitir a Mork trabajar esa registro de atmósfera oscura y cargada, casi que hipnótica. Las guitarras se mantienen firmes a la hora de saber forjar un sonido no exento de cierta crudeza, pero con al virtud de aunar oscuridad, densidad y profundidad, atreviéndose de forma mucho más directa que en el pasado con pasajes que aportan cierto tono melódico al conjunto. Es aquí donde confluyen de una manera totalmente fluida y coherente esos registros más intencionalmente clásicos dentro del black, con un aporte de elementos propios, fruto tanto de la ya dilatada carrera de Mork, como también de la búsqueda de una identidad propia, dando como resultado un sonido mucho más dinámico, con secciones que se antojan inmersivas, ofreciendo recursos variados a la hora de trabajar los riffs y la dinámica de ritmos e intensidades, logrando mantener ese espíritu más clásico, con una aporte extra de densidad y crudeza. Estos elementos también están presentes en al voces, con un registro que sabe ofrecer una buena capa de elementos crudos y gélidos, pero que también se refugia en secciones mucho más oscuras y profundas, como queriendo profundizar en registros paganos y ocultistas. El resultado es un álbum denso, que nos remite al black más clásico, al mismo tiempo que sabe aportar elementos propios que trasforman ese black tradicional en un ente totalmente destructivo. (7,7).

Peaceville Records

1. Under vekten av verden 05:57  

2. Ødelagt 05:20  

3. Torden 03:52  

4. Skrømt 05:06  

5. Ferdamann 04:47  

6. Inn i en annen saere 06:34  

7. Martyr 04:27  

8. Jutul 04:48  

9. Utryddelse 05:50  

  46:41

Dream Death ‎– Back From The Dead 16,99 €

Vinyl, LP, Compilation, Limited Edition