GALIBOT - INTERVIEW

 Good afternoon, thank you so much for answering these questions. How are things going in Wallers-Arenberg?

Hey! Thank you for the interview. Everything is fine right here!

        1. Around 2021, Galibot released their first split album. Can we say that this was the moment the band was formed? Is this band a reflection of the friendship between three musicians from the north? What did this first release mean to you?

I don’t think you could say that was the moment the band was formed. It was more of an experimental phase, an embryonic stage, where Thomas first tried to set our theme to music. He took the opportunity to join this split album featuring various styles to give it a go. But the real band started with our demo; that’s when Galibot’s solid bass lines came into their own. It is a story of friendship between three people, each of whom has given Galibot a strong identity.

        2. You use the name Galibot, which refers to the "children" who were forced to work in the mines in your area. How important is the mining culture of your region to you, to the point that it influenced the creation of the band?

Absolutely. The history and legacy of mining are everywhere in northern France. You can see it in the architecture, the red brick, the headframes and the slag heaps. And you can hear it in the stories told by our grandparents, who were involved in the industry. For us, it was obvious that we should tackle this subject, as it means so much to us and fits perfectly with black metal music.

        3. Your first album, "Euch'mau noir" (2024), has just been reworked a couple of years later. How did the idea of ​​reworking the album come about? What were you looking for with this rework? Has the band's identity changed that much in just a couple of years?

The idea of reworking ‘Euch'Mau Noir’ came to us because we didn’t feel the album was quite finished. Although its flaws might have added to its charm, at the time it was recorded most of us were students, inexperienced and still searching for our own sound. We wanted to create a final version of this album, one that was more polished and sounded like Galibot should sound to us. The band’s identity hasn’t changed that much; we’ve mainly sought to cement that identity with a more professional album.

4. You've just released your second full-length album, "Catabase," and you've also added a couple of new members to the band. What was the songwriting and recording process like for this second album? How did you decide to bring Julian and Christopher on board, and what was their involvement in the new album? How do you think the sound has evolved between the two albums? What brands of instruments did you use during the process?

The writing and composition process took place over the course of a few months, but was carried out very intensively. For example, for the guitars and bass, Thomas, Clément and Julian locked themselves away for several days at Minotaure Studio to come up with the riffs for *Catabase*. As for the lyrics, they are inspired by literature (Zola in particular) as well as Greek and Egyptian mythology. Thomas wrote the bulk of the lyrics, whilst I (Agathe) wrote some of them and adapted them to the music during topline and pre-production sessions in the studio. It was Robin who played on Catabase, though he has since left us to pursue other personal projects. Originally a three-piece, we intended to remain a studio project. Given the enthusiasm for Euch’Mau Noir, our excellent relationship with Julian, with whom we recorded it, and repeated requests for live performances, we were motivated to put together a live line-up—now a permanent one, although Chris has replaced Rob.

5."Catabase" delves deeper into a sound that manages to immerse us in the bowels of the earth, retaining the violence of past releases, but also offering a character where atmosphere has gained prominence, post-rock elements are welcome, the rage of hardcore is perfectly manifested, and there's also a focus on finding certain melodic elements. How would you describe the sound of the new album to someone who hasn't heard it yet? What bands and styles inspired you when composing the new album?

Indeed, as you pointed out, Catabase’s influences are diverse and varied. In terms of production, the album sounds a bit more modern than the previous one, whilst retaining a raw, gritty energy. Throughout the album, we move between what’s essentially third-wave black metal, a few brief passages of clean vocals, breakdowns, melodic riffs and a punk energy. I reckon described like that, it might sound a bit daunting! But in my opinion, the album is well-balanced and keeps things interesting. Our influences lean towards bands like Dissection, Misþyrming, Regarde les Hommes Tomber, Owls Woods Graves…

6. The influence of mining and the culture of your region on your lyrics is undeniable, but so is your ability to convey different feelings and emotions through your music. How important is it for you to share the culture of your area through your music? Do the lyrics adapt to the music, or vice versa? Is Diffamie an exception in a world dominated by male singers within extreme metal?

Galibot’s main focus is the mining history of the North, because that is where we come from; it is our heritage, that of our land, and the daily life of our ancestors. We are not campaigning to make this history known to the whole world, but it represents us, and fits perfectly within the Black Metal genre, which is dear to us. What’s more, our mining history is also that of other regions in France, and even around the world (I’m thinking, for example, of Brazil or Poland). This ruthless working-class existence and dark industry has plagued many parts of the globe, and resonates with a lot of people.

I’d say it’s more a case of the lyrics adapting to the music, although during the composition and writing process, there’s always an evolution to ensure the two are in harmony. Thomas writes most of the lyrics, as do I, particularly on Catabase. The words, turns of phrase and sentences evolve as I lay down the toplines so that they fit the music as well as possible and convey the emotions I want to express. I don’t know if I’m an exception, and I wouldn’t presume to claim that. What is certain is that the extreme metal scene is still dominated by men, and simply being a female singer, musician, artist or technician is still seen as an exception, which is a shame. In any case, I hope to become an exception for my singing, my music and my band, and not for my gender. I encourage every woman who is passionate about music to go for it and express herself through any style of music.

7. The new album will be released by Les Acteurs de l'Ombre Productions. How did the opportunity to work together on the new album come about? Was the idea to reissue the first album also partly Les Acteurs de l'Ombre Productions'?

Our collaboration with LADLO began with an order placed by the boss on our Bandcamp page; when we saw his name, we put together a box containing all our merchandise and a letter expressing our admiration and our motivation for joining this label. That’s how the LADLO adventure began! The release of Catabase happened very quickly, and whilst we were working on it, LADLO suggested a reissue of Euch’Mau Noir. We liked the idea, because although we love the first version, it wasn’t quite polished enough for our liking. We were still searching for our sound identity; it was the beginning. We’re delighted with these first two releases on the label.

8. For the entire recording, mixing, and mastering process of the new album, you worked with Minotaure Studio and Studio Sainte Marthe. Why did you decide to work with them? What do you think their work contributed to the final sound of the new album?

Absolutely! For us, it was essential to work with Minotaure Studio (which is our guitarist Julian’s studio), as he was the one who saw Galibot through its early days and, in a way, shaped its sound. What’s more, working and recording at Julian’s studio means we can stay there for hours, go back and revisit things, make changes, and take the time to think things through... On the other hand, for the mixing and mastering, we wanted a fresh approach, a new pair of ears to help our sound evolve. That’s why we turned to Francis Caste at Studio Sainte-Marthe. As fans of the bands he’s produced (Hangman’s Chair, Regarde les Hommes Tomber…), it was an honour to be able to work with him. By following our instructions and understanding the essence of Galibot, he managed to add his own touch and we’re delighted with the mix he produced for Catabase. That’s exactly how we wanted Galibot to sound.

9. You illustrated the cover of the new album with an industrial image of a mine. How did the idea for this image come about? Where is this place located?

If you look at the covers of our demos right up to Catabase, you can see that we’re getting closer and closer to the heart of the mine. On the Catabase cover, we are on the tracks used to sort the coal wagons, inside the Wallers-Arenberg headframe that can be seen on the previous covers. These tracks form various paths that intertwine in the darkness and lead us into the depths.

10. I don't know if you're familiar with the German band Dauþuz, a band with a very similar theme to yours and who also play black metal. Are there any other bands with a similar theme that you could tell us about? How would you describe the extreme metal scene in your region?

We know this band yes! Still in France, I can mention the Silicose project, which also explores the history of mining, as well as the social history and class dynamics linked to this industry in eastern France, for example. We’re lucky that in northern France the metal scene – and the music scene in general – is very active. We’ve had lots of bands established for several years now, as well as some great up-and-coming bands recently! Without even limiting ourselves to the extreme scene, bands like SUP/Supuration, November, Canteleu, Sloth Temple, Nornes… form the backbone of our alternative scene.

11. What are your concert plans for the live presentation of the new album? What can your fans expect from one of your concerts?

We’ve just returned from a three-date tour of France with Mephorash to kick off the album’s promotion. This summer, we’ll be playing on 28 June at the MCP Apache in Belgium, and on 4 July in Arras, in the north. From September onwards, we’ll be playing a string of great festivals such as Muscadeath and Nightfest. More exciting dates will be announced soon, but I won’t say any more for now… A Galibot gig is raw energy, an immersive experience in the hell of the mine and a series of different scenes. The best thing is to come and see it live!

12. 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?

I’ve always been passionate about music and performing, ever since I was a child. As for metal, it all started when I was 11, I think, with neo-metal bands like System of a Down and Korn. The very first CD I bought with my own money was an Eminem album – *Marshall Mathers II*, I think – which had just come out at the time. Then I quickly bought the whole SOAD discography. The first proper gig I went to see was Apocalyptica, with Dagoba as the support act, in 2016 or 2017. I started playing guitar at secondary school, and a bit later I joined my first black metal band, where I was the guitarist. It was mainly when I saw Darkened Nocturn Slaughtercult live at In Theatrum Denonium that it hit me: I could sing black metal too. That’s how I started practising, then I released a demo for a solo project, and that’s when the Galibot adventure began!

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

That’s a tough question! And I think we’d all have different answers depending on which band we’re talking about. It’s hard to choose... But for my part, I’d say perhaps *Bergtatt* by Ulver – definitely one of my favourite bands. It’s a black metal album from the 90s that I’ll never tire of. The albums I buy these days are by bands I’m going to see live. The latest ones I’ve bought are Excerpts from a future past by Hällas, The great disappointment by Wake the Dead and and Esse Est Percipi by Autumn Nostalgie (such a classic !).

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

Thank you for these insightful and interesting questions! And to all Galibot fans, I invite you to delve into the depths of the earth by listening to *Catabase*, and above all, to come and see us live!

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

Winter Deluge ‎– Degradation Renewal 13,99 €

Vinyl, 12", 45 RPM, EP, Limited Edition

DELIVERANCE

 

Origen: Francia, Paris.

Formados: 2012

Estilo: Black, sludge.

Temática: Vida y visión personal de la religión.

Enlaces: Bandcamp, facebook, instagram y spotify.

Miembros:

• Etienne Sarthou Guitarra
• Fred Quota Batería
• Pierre Duneau Voces
• Sacha Février Bajo

Discografía:

• Doomsday, Please. EP 2013  
• CHRST CD 2017  
• Holocaust 26:1-46 CD 2020  
• Neon Chaos in a Junk​-Sick Dawn CD 2022
• The Voyager Golden Banquet CD 2026

THE VOYAGER GOLDEN BANQUET (2026)

Cuarto larga duración para la banda francesa Deliverance, casi década y media después siguen empeñados en alejarse de los sonidos black, sludge que caracterizaron sus inicios, para, poco a poco, construir un sonido que abarca diferentes estilos e influencias y al cual han logrado imponer su sello de identidad propia. Un álbum con un sonido envolvente, diferenciador e inmersivo desde el inicio, lleno de diferentes recursos, cambios de ritmo y registros, todo ello equilibrado de una manera desmedida. Ofreciendo por una parte un comedido y demoledor sonido de batería y una buena profundidad de guitara y bajo, que sabe enfrascarse en secciones mucho más directas y demoledores, en donde ese carácter más sludge de su música todavía pervive, pero con cambios de ritmo agresivos, que pronto pueden traer un mayor sosiego, ya que la banda gusta de ofrecer pasajes mucho más lentos y emotivos en donde elementos progresivos y de carácter más rock, se pueden ver completados por secciones que invitan a ciertas secciones más depresivas. Cada tema es un ente en si mismo, retorciéndose, llevando a la ambigüedad tanto de formas como de sensaciones, enriqueciendo el conjunto con aportes electrónicos que salpican lo temas y que contribuyen a un carácter hasta cierto punto vanguardista de su música. Tal vez cierto equilibrio entre ese vanguardismo y algo de experimentación, junto con la profundidad del sonido, sean los aspectos más reconocibles y trascendentes de este álbum, capaz de funcionar como una carga de profundidad, pero también sabiendo el oyente que tiene un buen número de matices y recursos para que la atención nunca decaiga, para que la creatividad no falte a su cita, como si la portada que lo ilustra (no se porque me recuerda a la cinta "Paris, Texas"), sea un perfecto resumen de los contrastes, profundidad y agresividad del álbum. Un trabajo destacable a las voces por parte de Sacha, contribuye también a  lograr ese enfoque diferenciador del álbum, partiendo de la profundidad y la oscuridad, pero sin dejar pasar la ocasión para destilar agresividad y crudeza. Un álbum que en definitiva, sabe recoger diferentes registros dentro del metal extremo, variado y ecléctico, pero que se siente como un todo, directo, profundo y agresivo. (7,8).

Les Acteurs de l'Ombre Productions

1. Hellisual 08:07  

2. Chasing the Dragon 04:49  

3. Headspace Collapse 07:16  

4. Turn On, Tune In, Drop Out 08:06  

5. As Above, So Below 00:33  

6. Ground Zero 06:21  

7. The Banquet - Part 1 04:56  

8. The Banquet - Part 2 02:49  

  42:57

Suidakra ‎– Wolfbite 23,99 €

Vinyl, LP, Album, Stereo

VERBA SERPENTIS - INTERVIEW

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

Achlycet & Tenebris:

We’re good thanks for having us, just had our release show last weekend.

1. In 2024, you decided to launch Verba Serpentis. However, all the members are also in other bands. How did the idea to start another project come about? What does Verba Serpentis offer that sets it apart from your other bands? Why the name Verba Serpentis, and what does it refer to?

Achlycet:

I knew Tenebris before, and we had already talked about starting a band earlier since we were both interested in occult topics and liked a similar style of black metal.

When there was a lack of movement in our other bands, we decided it was the right time to start this band.

Musically, it’s different from my other bands, and it’s also the only one where I can really dig into the topics that interest me, as well as personal matters and interests.

Tenebris:

Verba Serpentis means “Words of the Serpent” and was a quite logical choice because it represents the idea behind the band: to spread the Luciferian message throughout the world.

2. With Verba Serpentis, it seems you want to maintain a "low profile," meaning you want to build things gradually, in an underground and classic way. By this, I mean that you started by releasing a couple of EPs. Do you think this is the right approach in a style like black metal—to start slowly with "smaller" releases to gradually build public interest? Is black metal a genre that lends itself to this approach as a way to solidify a career?

Tenebris:

Nowadays, the attention span of people is quite short. That’s why the idea of an EP is more compelling to me, as the focus can be maintained. On the other hand, you can give more new material to the fans in shorter periods of time, and the “danger” of having to use a “filler” song to complete a whole album is eliminated. Nonetheless, the next output will be a full-length album, also because labels won’t work with you if you only release EPs.

3. You've just released your second EP, "Torchbearers." How did you approach the songwriting and recording process for this second release? How do you think your sound has evolved between the two releases? What brands of instruments did you use in the process?

Achlycet:

The songwriting never really stopped between the first and the second EP. However, for the second EP there are way more two-voiced guitar parts than on the first one, since during the first release it was not yet certain that the band would have two guitarists. So I would say it became more creative and multifaceted.

For guitars, Malphas and I use Solar Guitars. Somnifer also uses a Solar bass guitar, and Tenebris uses Mapex drums.

4. The five tracks on "Torchbearers" maintain a dark, mystical, and occult black metal tone, with an aura of Satanism that permeates the entire work from the beginning. How would you describe the sound of the new EP to someone who hasn't heard it yet? What bands or styles influenced its composition?

Achlycet:

Melodic black metal. Some songs have atmospheric elements, while others have a death metal touch. I like to keep a good variation between songs so it’s not all the same and every track feels somewhat different. Additionally, I like to include some dissonant parts as well as epic or “golden” passages, as I would say this also reflects the lyrics and themes.

5. Lyrics steeped in Satanism, mystical elements, and occultism. Do you consider these themes essential within a style like black metal? What inspires you when writing your lyrics? Do the lyrics adapt to the music, or vice versa?

Achlycet:

These elements definitely have a “home” in black metal, although black metal is a broad genre with many different lyrical directions.

I mostly write the music first and the lyrics afterwards. However, most of the time I already know what the songs should be about beforehand, or I discover it during the writing process.

The lyrics themselves come from many different inspirations. Some are inspired by things I see and experience, others by personal rituals or topics that interest me. For me, it’s mainly important that they are honest, authentic, and that I can stand behind them.

6. Your first EP was released by the now-defunct Austrian record label Kvlt und Kaos Productions. However, for this new EP, you've opted for self-release. Is it difficult to secure the support of a record label when releasing new material for a black metal band just starting out? How are you managing this entire process?

Tenebris:

It’s not easy, that’s for sure. But if you stand behind your music and also bring that energy to the stage, people will notice and labels will come. We also had offers for this EP but decided to go solo for this release. That may change in the future.

7. However, you did have the support of the German studio Soundtempel Studio for the recording. Why did you choose them, and what do you think their work contributed to the final result of the EP?

Tenebris:

I worked with Stefan (Traunmüller) in my previous bands, and he always delivered high-quality work. He’s been deeply rooted in black metal for many years, so he knows what he’s talking about. He’s pretty swift and always open to new ideas or changes, so overall he’s easy to work with, and that’s very important

8. For the album artwork, you collaborated with Serpentchron. To a certain extent, it maintains a continuity with your previous EP. Why did you decide to work with Serpentchron, and what does this cover represent?

Achlycet:

Working with Serpentchron was easy on the first EP, as he quickly understood what our music was about and we were very pleased with the outcome. So we decided to work with him again.

The cover represents the album title in a way - Torchbearers. We came up with the basic idea of having an individual “holding the black flame” inside a ruin or decayed monument, with snakes whispering to him. The rest was created and realized by Serpentchron.

9. You've promoted both EPs with the release of videos for the tracks included on them, something not entirely common in this genre, especially for smaller bands. How did the idea of working on these songs and releasing a music video come about? How did you develop this whole process?

Achlycet:

Yes, we already have two videos for the new EP, and there will be another one soon.

I think nowadays it’s important to also have a visual component to the music, especially since social media plays such a big role and people tend not to really dig deeply into things. Fortunately, I think black metal fans are still more likely to explore the deeper meaning behind the music, but if you want to reach people, something visual definitely helps.

For the lyric video, I wanted to have something rather simple since the lyrics are already the main focus.

For the visualizer, I reached out to a guy called David Tomanek, who also created visualizers for other bands, such as Akhlys. He liked our material, so we sent him the lyrics and some basic ideas, and he created this very cool video which we are very pleased with.

I don’t want to spoil too much about the upcoming release, but there will definitely be another video.

10. You've always been open to the possibility of playing concerts. How important is it for you to connect with your fans and be able to perform your music live? What dates do you currently have planned to promote the new EP?

Tenebris:

Playing live is great, and we’re always on the lookout for opportunities to bring our music to the world. The words of Lucifer have to be planted on fruitful soil so they can grow and manifest themselves in the minds of people. We have some festivals and club shows in Italy, Austria, and the Czech Republic this year to promote the EP.

11. What's the extreme metal scene like in a region like Carinthia? Which bands from your area would you recommend? How would you describe the tradition and current state of Austrian black metal?

Tenebris:

We have a pretty strong scene here, with bands like Irdorath, Blightbringer, Karner, and of course bands we also play in, such as Schänder, Draugr, and Scion of Darkness. With our club KV Blasphemic Rites, we also organize concerts for different bands, and this year we are starting our first open-air event - “Blasphemic Rites Open Air” - with bands like Yoth Iria and Kvaen.

12. 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?

Achlycet:

I started playing guitar rather late and didn’t practice too much in the beginning. After I joined my first band, Scion of Darkness, I really started practicing a lot.

One of my first metal concerts was an underground metal show in Klagenfurt. One of the guys who played that night is now my bandmate in another band I play in (Schänder), haha.

Puh, to be honest, I have no idea what the first record I bought was. I think it was a sampler from the only issue of Metal Hammer magazine I ever bought.

When I started playing guitar, I always wanted to write my own material, and after joining my first band and playing my first shows, I realized this was something I kind of had to do.

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

Achlycet:

Tsjuder - Desert Northern Hell

Dissection - Live in Stockholm

Mgla - Exercises in Futility

To be honest, I haven’t bought a record in quite some time. Nowadays, I mostly buy T-shirts to support bands. The last merchandise I bought was from Enthroned. I saw them at Dark Easter Metal Meeting - awesome band.

The latest record I really like is De Pinte by Misotheist.

Tenebris:

Dissection - every Album

Watain - Sworn to the Dark

True Black Dawn - Of thick-circling Shadows (which is also the last i bought)

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

Achlycet:

Thanks for having us.

Make sure to attend one of our live shows.

Hail the Black Flame!

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

Acheron's Reticuli ‎– The Strangeness Of Orbiting Objects 27,99 €

Vinyl, LP, Album, Ultra clear

OPERA IX

 "VENEFICIUM" (2026)

Comentaba hace unos días al reseñar el nuevo álbum de Dimmu Borgir, que parce que algo esta moviéndose en el black sinfónico en los últimos tiempos, a la par que nuevas bandas surgen al amparo de un terreno favorable para el estilo, lo grandes colosos de los noventa no quieren dejar pasar la ocasión de recordarnos que ellos fueron los que contribuyeron a definir el estilo. El comienzo de Opera IX en los noventa son del todo proféticos, con la edición de sus tres primero álbumes del todo recomendables, sin embargo con el comienzo del nuevo milenio su trayectoria comenzó a languidecer de una manera similar al estilo que practicaban. Manteniéndose a día de hoy Ossian como único miembro fundador, ha conseguido sobrevivir a estas anodinas dos década y media hasta poder editar este "Veneficium" que puede volver otra vez a mirar de tu a tu al legado de Opera IX. Un álbum con diferentes alicientes que lo hacen más que disfrutable a lo largo de sus once temas, más allá de la ambientación, del trabajo de teclados y de la variedad de recursos, creo que lo ajustado y la credibilidad de lo expuesto está por encima de las formas. Ese arranque con "Gratidia", en donde sus voces limpias y freseados solo logran sumergirnos en un ambiente sombrío, oscuro y hasta cierto punto gótico, al mismo tiempo que nos trasmite la sensación estar transitando por terrnos conocidos en clara referencia al black sinfónico de los noventa. A partir de aquí el álbum solo hace acrecentar su registros ofreciendo secciones que son puro black directo e infecto en donde guitarras y sintetizadores logran tejer un entramado difícil de poner en entredicho, sembrándolo todo de un halo de oscuridad, terror y muerte a la altura de la época dorada del género, sin que ello se impedimento para que Opera IX busque y logre el equilibrio entre las secciones más directas y agresivas y la melodía y grandilocuencia inherente al género. Un trabajo de sintetizadores más que correcto, logran dar mayor atmosfera al conjunto, trasmitiendo cierta grandilocuencia, oscuridad, magia oscura o paganismo, todo ello perfectamente integrado con guitarra y batería para que formar un único ente perfecta engrasado y destructivo. Con las voces asistimos a un despliegue de recurso y formas realmente enriquecedor, de la propuesta con un tono profundo, oscuro y agresivo, que se solapan con secciones de voces femeninas mucho más marcadas, que dotan al conjunto de cierta emotividad. Es cierto también que el álbum parece querer dar muestra de cierto agotamiento a su parte final, pero la versión de Black Sabbath que sirve para cerrar este "Veneficium" vuelve a despertar nuestro interés. Un álbum a la altura de una banda como Opera IX, un álbum que podría haber sido editada en las noventa sin desentonar en ningún momento y que editado ahora vuelve a poner el foco sobre el black sinfónico y sobre una banda que es historia en si misma. (8).

Edged Circle Productions

1. Gratidia 00:54  

2. Vocatio Mortuorum 03:15  

3. Saturni Arcanum 05:27  

4. Saltatio Corvi 03:53  

5. Hortus Sagae 05:07  

6. Sagana 01:12  

7. Defixiones 03:56  

8. Veneficium 05:56  

9. Asphodelios 02:58  

10. Veia 01:50  

11. Black Sabbath 05:14  

  39:42

Gryftigæn ‎– Fehunðyrdauðr 37,99 €

Vinyl, LP, Album

SERPENT LORD

 

Origen: E.E.U.U., Battle Ground.

Formados: 2003

Estilo: Pagan black

Temática: Paganismo.

Enlaces: Bandcamp.

Miembros:

• Jake Superchi Todo

Discografía:

• The Rite of War Split 2003  
• Battle Horns Demo 2003  
• The Order of the Snake Demo 2004
• The Once Forgotten Ways of Old CD  2026

THE ONCE FORGOTTEN WAYS OF OLD (2026)

Al frente de este proyecto se encuentra Jake, integrante de bandas como Uada o Ceremonial Castings, un proyecto que a comienzos del presente siglo dejó editadas un par de demos  y un compartido con los también estadounidenses Mysticism Black, después de lo cual un silencio y diferentes inquietudes dieron por aparcado Serpent Lord, sin embargo parece ser que el ahora flamante primer álbum que nos ocupa "The Once Forgotten Ways of Old" se había quedado a medias ya hace más de veinte años, lavado de cara, puesta la día y seis temas que nos sumergen en un black metal de corte pagano, que realmente nos hace sentir ese espíritu retro, y clásico de los noventa. Seis temas que logran ofrecer un buen equilibrio entre un tono crudo y directo y un trasfondo que trasmite cierta melodía, construyendo sobre estos mimbres un ambiente pagano y ritualista. Lo cierto es que el ritmo se equilibra y se enfoca para lograr conseguir que funcione como un mantra, sin apenas variaciones en cierta secciones, con un enfoque casi que lineal y continuo que poco a poco logra sumergirnos en un tono entre lo místico, lo oculto y de oscuros rituales. Lo cierto es que aunque el álbum responde a una propuesta bastante actual, no lo es menos que a lo largo del álbum descubrimos recursos y cierta estructuras que nos sumergen en ese carácter de black de los noventa, ofreciendo tanto un vena pagana, como un vertiente más clásica. Jake se las arregla para trasmitir cierto carácter inquietante en su música, logrando equilibrar fuerzas, tanto en influencias retro y actuales, como a la hora de crudeza, melodía, oscuridad, misticismo y ocultismo. El enfoque que le da a las voces, solo hace acrecentar estas sensaciones, pues de una partes que suenan directas y oscuras, también sabe trabajar elementos más ambientales y corales en las mismas que redundan en una amplitud de miras, en querer llevar al oyente a los profundidades de lo desconocido, de rituales que buscan la redención a través del sacrificio y en donde el culto a lo desconocido sirve como sendero en al búsqueda de la salvación. Un trabajo de black metal pagano que logra ofrecer una esencia muy clásica en su sonido, con recursos suficientes para sonar variado y lo más importante, para lograr también sumergirnos en un ambiente ocultista y ritualista. (7,8).

Eisenwald

1. Aries Ram 08:35  

2. Constrictor 03:09  

3. The Once Forgotten Ways of Old 08:36  

4. Enter Serpentagram 04:58  

5. A Pagan's Spell 05:27  

6. Forever on the Grounds of Battle 08:09  

  38:54  

Afsky ‎– Fællesskab (red) 29,99 €

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DIMMU BORGIR

 

Origen: Noruega, Oslo.

Formados: 1993

Estilo: Black sinfónico

Temática: Anticristianismo, misantropía, muerte, ocultismo y satanismo

Enlaces: Bandcamp, deezer, Dimmu Borgir, facebook, instagram, soundcloud, spotify, tidal y youtub

Miembros:

• Shagrath Bajo, teclados y voces
• Silenoz Bajo y guitarras

Discografía:

• Rehearsal January 1994 Demo 1994  
• Rehearsal February 1994 Demo 1994  
• Rehearsal August 1994 Demo 1994
• Inn i evighetens mørke EP 1994
• For all tid CD 1995
• Stormblåst CD 1996
• Devil's Path EP 1996
• No Colours Records Recopilatorio Vol 1 Split 1997  
• Live & Plugged Vol. 2 Split video 1997  
• Enthrone Darkness Triumphant CD 1997
• Godless Savage Garden EP 1998
• Spiritual Black Dimensions CD 1999
• Sons of Satan Gather for Attack Split 1999
• True Kings of Norway Split 2000
• Puritanical Euphoric Misanthropia CD 2001
• Alive in Torment EP 2001
• World Misanthropy EP 2002
• World Misanthropy DVD 2002
• Death Cult Armageddon CD 2003
• Vredesbyrd Single 2004
• Sorgens kammer (del II) Single 2005  
• Stormblåst MMV CD 2005
• Stormblast MMV / In the Arms of Devastation Split 2006  
• The Serpentine Offering Single 2007
• In Sorte Diaboli CD 2007
• Golden Gods 2007 Split 2007  
• The Invaluable Darkness DVD 2008
• Gateways Single 2010
• Abrahadabra CD 2010
• Titans of Symphonic Metal Split 2014  
• Legacy Magazine Sampler Recopilatorio 2017  
• Forces of the Northern Night Directo 2017
• Interdimensional Summit Single 2018
• Eternal Apocalyptic Offerings Recopilatorio 2018  
• Eonian CD 2018
• Council of Wolves and Snakes Single 2018  
• Live at Dynamo Open Air 1998 Directo 2019  
• Dust of Cold Memories Recopilatorio 2022  
• Perfect Strangers Single 2023  
• Inspiratio Profanus Recopilatorio 2023
• Grand Serpent Rising CD 2026  

GRAND SERPENT RISING (2026)

Tal vez la irrupción en los noventa de Dimmu Borgir como estandartes de un nuevo "estilo" o vertiente dentro del black metal como es el black sinfónico, resultó un soplo de aire fresco, algo más que necesario para que el black siguiera creciendo y asentando su sonido. Primero con la edición de un par de álbumes de resultado incierto como "Stormblåst" y "For all tid", el posterior reconocimiento y consagración con "Enthrone Darkness Triumphant", para comenzar a languidecer con "Puritanical Euphoric Misanthropia", en donde los cantos de sirena los empujaban a explorar terrenos más alejados del black sinfónico para amarrarse a la teatralidad de formas, aspectos que no han abandonado en las siguiente dos décadas, hasta llegar a este "Grand Serpent Rising". En donde, vamos a pensar en un resurgir del estilo, o más bien la coherencia, madurez y dejémonos de experimentación. Dimmu Borgir han regresado para forjar un álbum a la altura de su leyenda. "Grand Serpent Rising" se siente directo y agresivo, oscuro y visceral, es cierto también, que esa ambientación cargada, esos elementos góticos y esa teatralidad ya han venido para quedarse definitivamente en la propuesta musical de la banda, sin embargo el ´álbum se siente directo, inquietante, capaz de trasmitir una atmosfera cargada, para nada impostada, que logra ofrecer una versión, hasta cierto punto, un poco diferente a la que nos tenían últimamente acostumbrados. Creo que la banda ha afrontado un reseteo, ha buscado aquellos aspectos de su sonido que sirvieron para definir un estilo como el black sinfónico en los noventa, y los han vuelto a poner en valor, enfocándose de entrada en un trabajo de guitarras mucho más rico y dinámico, con la habilidad suficiente para conservar cierta crudeza y rugosidad en la mezcla, para que las texturas logren imprimir bastantes dosis de agresividad, con ello el sonido se muestra mucho más potente, partiendo de una base guitarra, bajo y batería, para con ella, construir, a base de sintetizadores y teclados el grueso del sinfonismo de su propuesta. El álbum no adolece en ningún momento de todo lo característico del black sinfónico, se ha trabajado a conciencia la construcción de esa ambientación típica del género, sin embargo no trasmite una sensación de teatralidad ni de buen rollo, no, aquí Dimmu Borgir se han centrado en construir una ambientación oscura e inquietante, que sabe completar y amoldarse a guitarras y batería, trabajando al unísono para que el sonido se sienta poderoso, denso y violento. Algo similar sucede con las voces, con un registro que abarca diferentes segmentos, desde la profundas y más cavernosas, hasta aquellas que parecen querer trasmitir mayor agresividad y crudeza, trabajadas desde planos meramente limpios unas veces, hasta otros mucho mas elaboradas, pasando por secciones casi que habladas. Estamos ante un álbum que ha tardado ocho años en estar listo, pero en donde descubrimos que Dimmu Borgir están de regreso para reclamar el lugar que les corresponde dentro del black. (8,2).

Nuclear Blast Records

1. Tridentium 03:55  

2. Ascent 05:21  

3. The Qryptfarer 06:59  

4. As Seen in the Unseen 04:30  

5. Ulvgjeld & blodsodel 05:42   

6. Repository of Divine Transmutation 06:33  

7. Slik minnes en alkymist 05:38  

8. Phantom of the Nemesis 05:07  

9. The Exonerated 05:57  

10. Recognizant 05:51  

11. At the Precipice of Convergence 04:16  

12. Shadows of a Thousand Perceptions 05:29  

13. Gjǫll 04:00   

  01:09:18

Black Howling ‎– Return Of Primordial Stillness 13,99 €

Vinyl, LP, Limited Edition

ESCAPING AGHARTHA - INTERVIEW

 

1. Escaping Aghartha has been around for over ten years, initially as a one-man band, then came the addition of Anghatengh. How did the idea for Escaping Aghartha come about? Why did you choose this name, and what does it refer to?

Indeed, it's hard to believe Escaping Aghartha is celebrating a decade! As for the name, I am a huge fan of the drone metal band Sunn O))). The song Aghartha, off Sunn O)))'s album Monoliths and Dimensions, changed my perspective of music. I had never heard anything so dark and captivating. Additionally, the lore of Aghartha - which is a legendary city at the center of the earth - has a mysterious, otherworldly aura to it. Escaping Aghartha was suggested to me as a band name by a friend. I instantly fell in love with it, as it was both an homage to one of my favorite bands of all time and also had a dark and mysterious feeling to it. Sometimes I wish I chose a name more relevant to biology/conservation, but I still really like the name, all the same. (Though in the time since I chose the band name, the concept of Aghartha has become infested with radical and hateful ideologies which I detest; there was also a bomber in Indonesia that dedicated the bombing "to Aghartha" some years back). 

2. In a few days, you'll be releasing "Lurkers of Languid Waters," your ninth studio album. How difficult has it been to maintain a sense of freshness in such a personal and distinctive project within the black metal genre? Throughout Escaping Aghartha's career, what are the best and worst moments you can recall? What role does Imminent Extinction, your other musical project, play in channeling your emotions?

I have found it pretty easy (thankfully!) to keep things feeling and sounding fresh when it comes to writing and composing music for Escaping Aghartha. Part of that is I do not limit Escaping Aghartha to any one genre, and I am constantly blending genres together in my ever-evolving sound. I never feel pigeonholed to stay in one genre. Hmm, as far as best and worst moments...I think my best moment was when Croak released and was featured on the front page of Bandcamp Daily. The amount of publicity from that was incredible. My worst moment was when I played a live show (my second) without a proper soundcheck beforehand. The venue insisted I could just soundcheck very quickly immediately before my set. I wasn't mic'd up to the PA, so I thought I'd need to turn my amp up way louder to compensate. The end result was a lot of feedback, a thin tone, and it being so loud when I started playing that I panicked, lost my fingering, and jumbled the first 5 seconds of my set. Still, I learned a lot from that, so it really wasn't that bad, all things considered. (insist on a proper sound check, y'all) As for Imminent Extinction, that was my very first musical project. I released a handful of (very bad) songs on youtube and bandcamp and then didn't touch the project for many years until covid. I was feeling a lot of emotions and made a short slam/deathgrind album with a lot of social commentary. I didn't want to release it through Escaping Aghartha because I felt like that would detract from the environmental degradation/conservation biology theme I was focusing on. Eventually, I wound up putting that album on a compilation album titled "Escaping Aghartha" of unreleased songs anyway. I don't see myself ever releasing an Imminent Extinction album again. I think these days, I would probably just go ahead and release an album criticizing society via Escaping Aghartha. I've made enough biology-themed albums at this point that I feel like I could have the occasional off-theme album without it detracting from my overall theme for the band.

3. It took a couple of years to complete "Lurkers of Languid Waters," but it's also true that you collaborated with several musicians to develop different aspects of the recording. How did you approach the songwriting and recording process for this new album? How did you decide to collaborate with Thijs and Gregorio on this album, and how involved were they in the entire process? What brands of instruments did you use for "Lurkers of Languid Waters"?

. I think of Escaping Aghartha like a ship: I'm at the helm of it, steering it in the direction I want. Sometimes the ship I'm sailing is small and I can do everything myself, like with the ambient album Avian on Hiraeth Records. Other times, the ship is massive and unwieldy and I need the help of many people to fulfill my vision and help me sail towards my destination in mind. My longtime friend Thijs, who I met through an old facebook page I used to run (The Metalhead Medic, a page where we posted metal bands we liked to give them free promotion and help people find new cool bands) offered to play bass guitar for an album. I'm really glad I took him up on the offer, as he KILLED IT on the bass. For the most part, I just told him to do whatever he thought fit the songs well. If there was something he sent me that I didn't quite like, I would say "Maybe play this part like this instead" and he'd send me a new version until we both liked what he made. As for Gregorio, I had lost my previous drummer, CJ Yacoub, as they were dealing with things that prevented them from drumming. Finding a replacement was difficult - both in the sense that CJ has a unique and powerful style not easily replaceable, but also in the sense that finding ANY drummer proved to be a huge challenge. I was trying anything, from craigslist, instagram, and eventually a facebook group where I met Gregorio. I interviewed around 6 different drummers before I decided he would be a great addition to the lineup of Lurkers of Languid Waters. I had programmed some skeleton drums and sent them to him to give him an idea of what I wanted, but encouraged him to experiment and mess around. I'm not a drummer, and I know my drum compositions are lacking compared to the skill of a real drummer. Similarly to Thijs, he would send me things and I would sometimes give minor suggestions about the compositions until we decided on the final arrangement. 

As for the instruments, I use an Orange OR15 amplifier with a PPC412 cabinet. I love them both. My guitar is a Gibson SG from 2016 (2017?). I don't think I would buy another Gibson, as there are so many other guitar brands out there that make equally good guitars at a fraction of the price, but I really wanted that dark and doomy tone that SGs are known for. Lastly, I use a LOT of different synthesizers via Fruity Loops.

4. The sound of all your albums has always maintained a deep and atmospheric tone. A combination of black, doom, and drone would be a fairly accurate description. However, for "Lurkers of Languid Waters," I suppose the theme plays a part, but you take it a step further. The sensations of depth, darkness, and unease are very well achieved. How would you describe the sound of the new album to someone who hasn't heard it yet? What do you intend to convey with the sound of "Lurkers of Languid Waters"?

I completely agree, most Escaping Aghartha releases could be put under black, doom, drone, or a combination of those genres (I would also argue death metal is another prevalent genre amongst my albums). I appreciate you saying that, as I tried to make this album sound immersive and deep. The album has a good amount of variation to it, with the song Transformations being upbeat and boppy, while Cradle of the Sargasso Sea is meditative and calming, and Degrade and Impede is a horrifying descent into eerie and vaguely psychedelic realms. At nearly 80 minutes long, it would get boring to have the same sound the entire album, so I tried to keep it fresh with variation. Overall, though, I would describe the album as dark and haunting, yet beautiful and full of life, too. I wanted to make the music sound like you were in a dark ocean, or maybe a silted pond, with creatures lurking behind every corner - dark, but with life. I used the sound of water many times throughout the album to try to hammer home that feeling of water and immersion within it.

5. You have a background in biology and ecology, and you somehow incorporate your knowledge and interests into the themes of your releases. However, it would be very easy to focus on media-savvy animals like bears, tigers, blue whales, etc. Instead, you seek to highlight the value of other, less recognized species, such as bats, frogs, or, as in the case of your latest release, eels. When did you decide to create a "concept" album about them? How did you approach writing the lyrics, and how did you achieve that balance between the text and the rich atmosphere of "Lurkers of Languid Waters"?

Originally, Escaping Aghartha was not a biology-focused band. I really didn't have a central theme at first - I was meandering, exploring different themes, seeing what resonated. Eventually, on Evoke.Contrast.Evolve, my first metal album, I discovered how intensely I felt about the biological theme when I wrote the song "Imminent Extinction" (an allusion to my first project's name). I then decided to focus on environmental/biological themes primarily, as the album after E.C.E. was Oceanic Womb, which revolved around the degradation of our oceans and the life within them. Rather than focus on making concept albums about well-known animals, I wanted to focus on the animals that people didn't know were threatened. As a conservation biologist, my job and deepest desire is to conserve the life and ecosystems in this world. But in order to do that, people have to care about them. And if people don't know that frogs or bats or eels are threatened and need help, then they won't care about them. I figured I could have the greatest positive impact with my music by writing about these animals which don't have much media coverage, and which often have negative stigmas associated with them. As far as the lyrics...I oftentimes find writing them very difficult. As a scientist, I want to convey the facts about the animal and the reasons for their declines as effectively as possible through the lyrics. However, that sometimes means that the lyrics read more like a scientific pamphlet rather than dark and mysterious lyrics associated with black/doom metal. It's a difficult balance to strike, but I've become better at it over time. On Lurkers, I had some songs focused lyrically on the reasons behind their declines. Other songs lyrically revolved around the biology of eels, celebrating their incredible transformations and unbelievable migrations they take.

6. I mentioned earlier how your music evokes an atmosphere reminiscent of the deep sea, largely thanks to the sound you coax from the guitars. However, Harrison Hunt is only credited for mastering the new album. How did you approach the mixing and mastering process? How did you focus on the guitar work and overall soundscape for the new album? Which bands inspired you in developing this technique?

 Harrison really outdid himself this time with the mastering! I was thrilled with how it sounded when it came back from him. As far as the mixing goes, I wanted a powerful, yet atmospheric sound. Oceanic Womb was a bit too dry and lacking in atmosphere, while Croak was too atmospheric and lacked some of that power. I feel like I finally nailed the sound this time around and achieved an ideal balance. You mention the guitars largely contributing to the deep sea sound, but I actually think the synthesizers pull a lot of the weight here. Many of these songs sounded a bit hollow until I put the synthesizers in the mix, at which point the songs flared to life. The richness and depth of the synths contrast beautifully with the relatively harsh guitars. As far as bands that inspired me for the overall sound I went for, Lethian Dreams, Ahab and Ruins of Beverast are all inspirations. I love how they have strong rhythm guitars balanced with beautiful lead guitars which are often caked in reverb, delay, and chorus. It gives the songs a very full feeling.

7. The new album will be released by Hypnotic Dirge Records on CD and vinyl. How did you decide to work with Hypnotic Dirge Records? How important is it for you to have the label's support and to have a couple of physical editions of the new album?

To me, having the support of a label is invaluable. My goal is to educate as many people as possible about eels, so the exposure that comes with being on a label is incredible. I am especially glad to be on Hypnotic Dirge Records, as they are fully on-board with the environmental themes and we share similar values when it comes to biological conservation. I do really struggle with the environmental impacts of a physical release. On one hand, creating a physical product + shipping a product creates a lot of plastic waste that I feel very conscious about and which I intensely dislike. However, some people really prefer physical media and won't buy a digital album, so for the sake of fundraising for eel conservation, I feel that the benefits outweigh the cons. It's close, though. 

8. Mairead McGuinness is credited as the artist for the album cover. Who is Mairead, and when did you decide to collaborate on the album artwork?

Mairead is a lovely, kind soul that I found on Instagram. She's the best. I saw that she liked doom/black metal and also was very passionate about environmental conservation, especially with birds. I of course had to reach out and introduce myself. I told her that I donate all the profits from the first month of many album sales, and she generously volunteered to create and donate album art to reduce albums costs on Escaping Aghartha to maximize the fundraiser. She first did art for the dark ambient album Strigiformes. I was overjoyed when she agreed to do a second collab - this time for the art for Lurkers of Languid Waters. It's one of my favorite art covers within the Escaping Aghartha discography for sure!

9. Moving away from the more conventional themes within the genre, you focus on biology and defending nature. How does this theme fit within a genre like black metal? Do you see Escaping Aghartha as a way to highlight and raise awareness of important and lesser-known aspects of wildlife conservation? Are you familiar with the American project Starer, which also has a background in animal protection and rescue through the ESMA association?

 I absolutely do see Escaping Aghartha as a way to highlight conservation issues! As for how Escaping Aghartha's themes fit into black metal, I think the themes of environmental degradation and wildlife conservation is a pretty good fit. You have all these black metal bands that write songs about nature (Agalloch and Wolves in the Throne Room are two that come to mind immediately), but they're mostly writing about the glory of nature and all of its splendor. Then you have a bunch of misanthropic black metal bands that write songs about their hatred for humanity. I see Escaping Aghartha's lyrics and theme as a bit of a mismash between those two sides of black metal. I haven't heard of Starer, I'll have to check them out! I do love Gojira and Ecologist for their pro-environmental themes, though.

10. Is there a possibility of performing Escaping Aghartha's music live, or will it always be a studio project? How do you envision an Escaping Aghartha concert, let's say, in the context of a music festival focused on nature conservation?

As I mentioned earlier in the interview, Escaping Aghartha actually has performed live before (the song Oceanic Womb, from my first live performance, is actually on Escaping Aghartha's youtube channel). That show I was opening for Kayo Dot which was extremely exciting. But anyway, I did live vocals and guitar, then piped in drums + guitar solos + synthesizers over the PA speakers. People seemed to really enjoy it, and it was a fun experience for me as well. The main thing stopping me from doing more shows is that it's difficult to move the amplifiers and my gear as a single person. And also my car is now too small to move my amps, so I'd need to find a friend with a van. The alternative, which I thought about, is performing keyboard and vocals live and piping in guitars, but I'm not sure how people would respond to that. Right now, my focus is on recording and putting out new music. Once I settle down in a location, I'd like to find band members for live shows and start performing again. A festival focused on nature conservation would be awesome! I'd love that.

11. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your life led you to want to become a musician?

 My first albums I bought were Weird Al Yankovic albums. I was OBSSESSED with Weird Al as a 10-year-old. I've seen him several times, and he was my first concert I saw. I loved it. Disturbed was the first band that got me started on the path of hard rock/metal (a band which I do not care for at all anymore), and they were my first rock/metal show. However, Machine Head also played at that Disturbed show, and they seriously changed my perspective on music. I loved the intensity to their music and how they often had songs surpassing 7 minutes in length - something that I had never been exposed to before. I still respect Machine Head immensely and still listen to their masterpiece The Blackening every now and then. I'm not sure there was any one event that made me want to become a musician. I just found myself singing along to Disturbed and other bands and thought how cool it would be to be a vocalist in a band. I tried out to be the vocalist in a couple bands in high school, but at that point my skill was far, far too low for anybody to consider me as a vocalist. I decided I'd make my own music and become my own band. I got gifted a guitar for Xmas one year, and slowly over the next 5 years, I experimented with my guitar and taught myself how to play. Eventually, I could play well enough to actually make music I was happy with.

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

For me, Agalloch's Ashes Against the Grain is hands-down my favorite black metal album. I love the wild feeling it has. You can almost feel the snow and wind in some of the songs. The songwriting is masterfully done, with each and every track being worthy of praise. Not Unlike the Waves is a standout track for me. It's hypnotic. It's gloomy. It's perfect. And the last three tracks, Bloodbirds I-III, are an incredible end to the album. As far as newer black metal albums, I've been enjoying the black metal/triphop album He Left the Temple by Foghazer (also on Hypnotic Dirge Records) and the instrumental post/black album New World by DEADTREES. 

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

Thanks for the interview, this was fun! Anybody out there reading this, if you want to make music, you should go for it. Don't worry about your skill level. You will gain the skills over time through practice. The most important thing is that you have fun making music and enjoy the journey!

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Fen & De Arma ‎– Towards The Shores Of The End (Gold) 29,99 €

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