SOJOURNER - INTERVIEW

 Good afternoon, thank you so much for answering these questions. How's everything going with the New Zealand vs. Sweden match?

Mike: Haha it’s going great thank you! Thanks for having us for the interview!

1. You started around 2014. What led you to create the band? Why did you choose the name Sojourner, and what does it refer to?

Mike: Emilio contacted me because he liked my doom band at the time, Lysithea, and we decided we’d take a shot at a band together. It was originally going to be a doom band, but eventually morphed into a band exploring our shared love of atmospheric black metal. With the name, we had an exceptionally long short-list of titles we liked, but Sojourner was one of Emilio’s suggestions actually.

2. After a start where you released three albums in just four years, a much darker period followed, with the release of an EP, a split album, and the imminent new album. Beyond the addition of Heike and the return of Mike, what else happened with Sojourner that led you to take this relative break? How did the band cope with this period of relative inactivity? Could it be related to the adjustment period for the new members?

Mike: Yeah we were on a nice roll where we were releasing an album every two years, and that was a good schedule. From my side, I was so immersed in the band and had been writing and recording and planning for years without a break, and once we hit 2019 I had some major life changes which I don’t need to get into the details of, but I hit a wall pretty hard and then the whole pandemic happened which cancelled so many plans. That was the break point, so I took some time off for a few years until I felt ready to return and continue the band from a place where I was passionate about it again. It really had nothing to do with the new members though, because ultimately Emilio and I have always been at the wheel of the band so it was more where we were at in our lives that dictated us needing to take some time.

3. You'll soon be releasing your fourth full-length album, "Getaways." What was the songwriting and recording process like for this new album? How do you think Sojourner's sound has evolved between your last two releases? What brands of instruments did you use in the process?

Mike: The songwriting process is the same as always in that I work on writing and recording the songs first and foremost, but this time I got Emilio and Heike in on the songs during the writing process as opposed to how we used to do it where I’d give Emilio a mostly finished song to work with. It’s much more inspiring to me to have vocals be a more direct part of the pre-production process, so we’ve really got it dialled in now. I think our sound has evolved a lot on this release, it’s taken our style to the next logical and more mature stage, we have 12 years of history as a band behind us now and that experience definitely informs the way that we approach things. Brand-wise, for guitars I tend to use my Ibanez RGD71ALMS 7-string in Drop F# with Fishman Fluence pickups, so our standard 6-string tuning of C# Standard with a low F# that I’ve utilized a lot more from Premonitions onward, and a lot of it was also recorded on my 6-string E-II Eclipse DB in C# Standard with EMG 60 and 81 pickups. I also use my 7-string Solar T2.7FBB in Drop F# with Seymour Duncan Black Winter pickups quite, particularly for layering, and me and Heike’s shared Fender Player Strat with really nice Pure Vintage ‘59 single-coils for clean sections. The bass was tracked in my studio by Mike Wilson on our studio Solar AB2.5C 5-string bass. Guitar and bass tones were pretty much all my Quad Cortex, though quite late in the production I was lucky enough to be able to reamp the rhythm guitars through a friend’s Mesa Trem-o-Verb that I only just found out he owned…the original rhythm tone I had dialled in was a Trem-o-Verb but getting to reamp through the real thing based on my QC tone was amazing. For vocals, Emilio used a Shure SM7B, and we recorded Heike’s vocals on our usual mix of a Shure SM7B and a Neumann TLM103. There were a lot more synths and keys and backing instruments used of course, but that could become a much, much longer answer.

4. "Getaways" unfolds as an album full of nuances and contrasts, where Emilio and Haike's vocals stand out as a completely differentiating element, giving that underlying black metal sound—which can be dark, cold, melancholic, ambient, and atmospheric—a much more personal and expansive dimension in terms of sensations and nuances. How would you describe the sound of "Getaways"? What inspired you to compose the album? What role did Haike's vocal abilities and contributions play in the final direction the album took?

Mike: Once we knew we’d bring Heike in it gave us a whole new dimension and palette to work with that we’d never had access to before, so it definitely helped to know we weren’t being held back and we could achieve everything we had imagined with the sound. Regarding the sound, I would say it’s darker and more aggressive than previous Sojourner albums, and I leaned a lot more into the gothic and doom side of things that had always been part of what we do but was more in the background. It wasn’t intentionally darker and sadder, but I think I resonated more with this kind of sound simply because the world feels much darker than it did back when we started the band. Also it’s been a pretty rough time for Heike and I trying to get all this visa stuff sorted, and some of that bleed into the creation of the songs for sure. In terms of what inspired the composition of the album, it was mostly just being excited to do Sojourner again…to explore this world and a sound that, for a while there, looked like we may never do again.

5. Your lyrics have always been related to nature and fantasy; however, for the new album, fantasy themes seem to take center stage. What can you tell us about the themes of the new album? What themes inspired you, and which ones did you decide to explore? Do the vocals adapt to the music, or vice versa?

Mike: I think this album still has plenty of Emilio’s personal lyrics mixed with a lot of fantasy themes. We definitely dialled down the nature themes a bit for this, but I just think that’s been so thoroughly explored in the genre that you can definitely end up retreading too much of the same old ground if you’re not careful. A lot of times the songs are inspired by one thing, and Emiliot takes his own inspiration to add to the lyrics. The Road Ahead has lyrics written by Heike, and they’re a truly beautiful addition to the album. We wanted this album to be a little bit of escapism as well, something that you can put on and spend a little while immersed in other worlds. Of course the lyrics are written to both be relevant to the fantasy themes and relatable on a more personal level, Emilio and Heike always pays attention to that. The lyrics are typically always adapted to the music once it’s done, either written after or adapted heavily to make sense within the musical structure.

6. Mike Lamb continues to oversee the entire production, mixing, mastering, and recording process, with various aspects handled between Sweden and New Zealand. How did you develop this whole process? Will you continue to handle this aspect yourselves in the future?

Mike: Since the beginning I’ve recorded every single note on every album, apart from the final drums, bass, and vocals. I’m really particular when it comes to the finer details. We’re really happy with finally being able to dial in the exact sounds we always wanted for the albums, so I think this is how we’ll continue to approach things. I love what Gabriele did on Empires of Ash and Oystein and Dan Swano did on The Shadowed Road and Premonitions, but now we’re in a spot where we can oversee the full process and we’re very DIY in the way we approach our bands and music, so this suits us perfectly.

7. The new album will be released by Avatgarde Music. How did the idea of working together on the album's release come about and materialize?

Mike: We’ve worked with Avantgarde since the start, with one small foray to Napalm Records for a release and an EP. Roberto and Andrea are like family to us, they’re the prime example of a label that treats their artists amazingly.

8. Your new singer, Heike, designed the album artwork through her own design studio. Isn't it great to keep everything in-house and have her design talent? Is there a certain parallel with your previous album covers? Was this intentional or did it happen by chance?

Mike: Absolutely! We have a very nice pipeline with me and Heike’s other bands Remina and Light Field Reverie, so we carried it across to this. I’m always super involved in the album covers, so we spent a long time nailing this one down, and Heike did the most amazing job of taking the concept through to the final work! I wanted this cover to parallel the first two albums with the castle, but I want it to be an evolution of the concept in a much darker and more ominous direction. Heike captured that better than I could have ever imagined.

9. You've been around for a few years now, and atmospheric black metal has evolved in different directions, from a classic style to extremes. Do you consider yourselves a leading force in the genre? What similar bands would you recommend?

Mike: I definitely wouldn’t say a leading force, I think we have our spot in the genre and I’m proud of what we’ve done, but I never thought of us as one of the “big dogs” or anything. We’re just one of many bands who are all doing beautiful things with the genre. If we’re going to ignore some of the classics such as Agalloch and Wolves in the Throne Room (which I guess aren’t strictly atmospheric black) and bands like Caladan Brood and Summoning, then some of my personal favorites are bands such as Taur-Im-Duinath, Mesarthim, Labyrinthus Stellarum, Tjaktjadálvve, Vorga, Nechochwen, Stormkeep, Domhain, Suldusk, Havukruunu, The Morningside, Sivyj Yar, Alcest, Grima…there are way too many to mention, and some of those are only very peripherally atmospheric black metal, but you get the idea and I still missed so many I know I’m going to regret.

10. What dates do you have confirmed for the live presentation of the new album? What can your fans expect from one of your concerts?

Mike: We played at Ar’ Vran Fest in France and headlined a release show in Milan over the last couple of weeks, and those went great minus some sound issues. When it comes to our concerts, there’s a lot we’d love to do to really make them more immersive, but we also just like to have a good time and create less of a ‘moody’ experience and more of a classic high-energy live band show. We’re a bit rusty after 6 years, but we’ve got two absolutely phenomenal new live members in Matt Bell on guitar and Francesco Del Vecchio on bass, and they’ve injected a whole new life and energy into the band. I can’t wait till we can play more together!

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

Mike: I got started as a kid who just loved metal, I was introduced to it by my older brother when I was very young and then I just wanted to immerse myself into everything about metal. My first two major concerts outside of some local New Zealand bands were A Perfect Circle and Opeth. Those absolutely blew me away and help solidify that this was what I wanted to do with my life. My first albums in the more extreme side of metal were Agalloch’s Pale Folklore, Dimmu Borgir’s Death Cult Armageddon, Cradle of Filth’s Midian, Tristania’s Widow’s Weeds & Beyond the Veil, and Theater of Tragedy’s self-titled. Those were some of my really formative records, among others of course, but those albums made a huge impression on me early on. It was my first exploration deeper into metal by myself without anyone guiding me, just taking random CDs and listening to them in the CD store to decide what to buy, and there was something exciting about that back when you had to buy an album and truly deep dive into it.

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

Mike: That’s tricky, there are so many amazing bands I could mention, but I’m going to go with Agalloch. Some people argue they’re not even “real” black metal, but to me they are the pinnacle of what I want to achieve with atmospheric black metal and they are the most pure form of the embodiment of the spirit of nature in music. The latest albums I’ve bought have been very not-metal for the most part, sorry to disappoint you, but they’ve all been amazing and are Exploring Birdsong - Every House We Built, Traitrs - Possessor,  Archspire - Too Fast to Die, Loathe - A Stranger to You, Warning - Rituals of Shame, Purity Ring’s self-titled, and A. A. Williams - Solstice. There are a few black metal albums I’ve been meaning to get around to, but I tend to listen to less black metal when I’m working on it myself, I just don’t like to overload myself on the genre and have too much similar stuff seep into my writing unintentionally.

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

Mike: Thank you so much for taking the time to interview us! We really appreciate every single person out there that has taken the time to support us directly or indirectly, you’re all amazing. Finally, thank you for the questions, these were a lot more interesting than most run-of-the-mill questions we get!

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Johnny The Boy ‎– You (Clear & Black Marbled) 34,99 €

Vinyl, LP, Album, Limited Edition, Clear & Black Marbled

PROFANE BURIAL

 

Origen: Noruega, Kråkstad.

Formados: 2013

Estilo: Black sinfónico

Temática: Brujería, fantasmas, fantasía, magia, maldiciones y terror

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

Miembros:

• André Aaslie Bajo, guitarras, orquestaciones y teclados.
• Bjørn Dugstad Rønnow Batería
• Kjetil Ytterhus Orquestaciones, programaciones, teclados y voces

Discografía:

• The Rosewater Park Legend CD 2018
• My Plateau Single 2024  
• My Plateau CD 2024  
• Desolate Echoes of Turmoil CD 2026  

DESOLATE ECHOES OF TURMOIL (2026)

La banda noruega Profane Burial llega a su tercer larga duración con este "Desolate Echoes of Turmoil", un álbum que llega estando su predecesor próximo en un ciclo de un para de años. "Desolate Echoes of Turmoil" consta de seis temas en donde Profane Burial se mantiene firme en un sonido en ciertos aspectos complejo pero en el que hay dos registros destacados, por un lado un elemento sinfónico dentro del black, al mismo tiempo que se mantiene firmes en una interpretación progresiva y con tintes vanguardistas del género. El resultado es un álbum de estructuras algo complejas, con registros al alcance de unos pocos, en donde el oyente se puede sentir rodeado de un black sinfónico, con un componente clásico, brumoso, oscuro y absorbente, con un ritmo elevado que resulta casi que abrumador, pero que también sabe trabajar una ambientación oscura y con cierta profundidad, algunas veces un tanto forzada pero que fluye acompasada sin llegar a desentonar. Por otro lado tenemos otros terrenos en donde la banda también se siente muy a gusto en su interpretación, estamos hablando por supuesto de ese componente progresivo en su propuesta que lucha por cobrar mayor protagonismo a medida que le álbum avanza. La combinación se antoja a veces un tanto abrupta, secciones que se nutren de teclados y orquestaciones, se adentran por terrenos con acentuado contraste en forma de secciones que invitan ala reflexión, con una mayor riqueza de texturas, un mayor trabajo de fonda a la hora de completar y trabajar un sonido de guitarra con más matices, una batería que se muestra más amplia en registros y unas voces que ganan en agresividad. Y es que la voces son un fiel reflejo de este dinamismo de formas, de esa complejidad de estructuras también, sintiéndose cómodas tanto en una vertiente más sinfónica en donde ganan profundidad, como en las partes más directas, sin embargo llama la atención al mismo tiempo que cabria destacar que hay como un hilo conductor que logra realizar una transición fluida entra ambos registros. Profane Burial es una banda con un line-up más que veterano dentro de la escena, que en este proyecto dan rienda suelta a sus inquietudes más personales, dando como resultado un álbum por momento complejo, no exento de cierta técnica, inmersivo a la par que disperso. (8,1).

These Hands Melt

1. Den Fortaptes Krønike  

2. Prognostic Augural Obsolescence  

3. Triumph of Dreadful Aftermath  

4. Channeling Epiphany  

5. Horror Code pt. 2  

6. Malicious Discomfort

Sorrow ‎– Oblivion of Astral Desolation  13,99 €

Cassette, Album, Limited Edition

HERETIC CULT REDEEMER

 

Origen: Grecia, Atenas

Formados: 2009

Estilo: Black

Temática: Herejía, miseria, muerte y ocultismo.

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

Miembros:

• C. Docre Batería
• Funus Voces
• N3 Guitarra
• T Bajo y guitarra

Discografía:

• Heretic Cult Redeemer CD 2013
• Kelevsma CD 2018  
• Amestigon / Heretic Cult Redeemer Split 2019  
• Flagellum Universalis CD 2023
• Path of the Undead Ichor Split 2023  
• In Oculum Chaos CD 2026

IN OCULUM CHAOS (2026)

Acercándose ya peligrosamente a sus dos décadas en activo, las banda helena Heretic Cult Redeemer editará en breve su cuarto larga duración, un álbum de sonido desconcertante, profundo y perturbador en donde las voces de Funus se erigen como eje vertebrador del conjunto. Con un ojo puesto en elementos de sonido vanguardistas, al mismo tiempo que no negocia elementos que nos sumergen de lleno en un black de corte ortodoxo, en donde también son bienvenidos elementos death o doom, así es como se presenta este "In Oculum Chaos". Un álbum que siembra el caos desde el comienzo de la escucha, un sonido que se presta a cierto tono de experimentación y vanguardismo, con un implacable sonido de batería que sabe mantener un ritmo implacable, al mismo tiempo que dinámico. Un combo de guitara y bajo que se emplea fondo en la profundidad de su sonido, jugando con disonancias, mstrandes o directo y preciso en algunas secciones, para volver a refugiarse en un sonido mucho más profundo y destructivo. Por que la destrucción es algo que nos acompaña de principio a fin en este álbum, atrapándonos en las profundidades del caos más absoluto, haciéndonos participes de la mayor de las pesadillas sonoras para finalizar regurgitados como desecho inservible. Cada tema tiene una fuerza y violencia única, lo cual nos permite dejar atraparnos por cada uno de ellos de forma enfermiza y violenta, siendo parte de un todo que nos devora sin contemplaciones en la mas insondable pesadilla cósmica. Buena parte de culpa de lo expuesto corre por cuenta de la voces de Funus, que ofrecen un buen número de recursos, desde esa faceta más oscura y profunda, como en otras donde sabe jugar con otros registros y recursos que nos muestran seccione que son pura demencia y esquizofrenia. Un álbum que gira en torno a un ambiente complejo y ambiguo, partiendo de la oscuridad, para acabar profundizando en la desolación y en la embriaguez de registros y estructuras que dotan al resultado final de un aura de enfermiza y destructiva locura. (8,1).

Serpent Sun Records

1. I Saw the Void  

2. Death's Black Shadow  

3. Miracle of the Fallen  

4. Carnyx  

5. The Wondrous Strand Of Time

6. Ancient Terror  

7. To Rust, We Glorify

8. Exodus  

9. An Atavistic Perfusion of the Cosmic Womb

Weregoat / Eggs of Gomorrh ‎– Orgiastic Rape Of Resurrected Remains 22,99 €

Vinyl, 12", 45 RPM, Mini-Album, Limited Edition

DIE ENTWEIHUNG

 

Origen: Israel, Haifa

Formados: 2007

Estilo: Blackened heavy metal

Temática: Conflictos, política y problemas sociales.

Enlaces: Bandcamp y facebook.

Miembros:

• Denis Tereschenko Todos los instrumentos y voces

Discografía:

• Die Entweihung Demo 2007  
• The Last Nail Demo 2007  
• Осквернение CD 2008  
• Hypnotic Dreams CD 2008
• The Hallucinations CD 2010  
• At the Bottom CD 2012  
• 5 Circles of LonelinessCD 2012  
• The Cage CD 2013  
• One Shot in April EP 2014  
• Despair Division: A Tribute to Joy Division CD 2014
• The Last Shelter EP 2014  
• Neverending Terrorism CD 2015  
• The Worst Is Yet to Come CD 2018  
• Desecration + Hypnotic Dreams Recopilatorio 2019  
• Kings & Pawns CD 2021  
• Strict Regime Country CD 2022  
• Worldwide Terror CD 2026

WORLDWIDE TERROR (2026)

Con una trayentoria que ya se va acercando a los veinte años, el proyecto extremo de Denis Tereschenko, Die Entweihung, llega sus duodécimo álbum estudio, en origen afincado en Bielorruisa para trasladarse posteriormente a Haifa, contando para este nuevo álbum con la participación a las voces de Alena 7 de  los checos Nocturnal Pestilence. Lejos quedan aquellos comienzos de este proyecto más centrados en estilo que abarcaba diferentes vertientes de un género como el black metal. El tiempo ha pasado y desde hace prácticamente una década las inquietudes de Denis se centran en un heavy de componente clásico, con otros estilos como el speed o el thrash, como bien queda patente desde el arranque de "Worldwide Terror". Un buen puñado de ingeniosos riffs, ciertamente inspirados, en donde descubrimos un componente bastante clásico de estilos como el heavy, sirven de carta de presentación y así se mantienen en el grueso de las composiciones. Hay un componente que rezuma clasicismo en cada tema, sin embargo el elenco de amplio espectro en cuanto a riffs que logra ofrecer Denis está fuera de toda duda. Los temas no caen en el sopor, más bien al contrario, hay secciones mucho más inspiradas y directas, donde un thrash potente y agresivo despliega todo su empuje, logrando equilibrar agresividad y melodía sin apenas fisuras, al mismo tiempo que la crudeza y algunos giros inesperados son bienvenidos. Esta thrash también deja algunas reminiscencias a elementos infectos que invitan a cierto optimismo, de la mano de riffs más inspirados, enfocados en la melodía, al mismo tiempo que descubrimos secciones que son puro speed. Algún componente con mayor carga de oscuridad se deja entrever en la composiciones, como si Denis no quisiese dejar de lado sus inicios, contribuyendo a un carácter más envolvente y profundo en algunas transiciones, como queriendo contribuir con una atmosfera más reconocible. Ni que decir tiene que la voz de Alena 7 se presta a la propuesta, encajando perfectamente en ese tono agudo, agresivo y crudo que se le presupone al thrash, pero sin olvidarse también de elementos más heavys que van surcando las vocee. Un álbum que se centra en estilso como el heavy o el thrash más característico, arriesgando lo justo pero saliendo vencedor a la hora de plasmar la vertiente más clásica de ambos generos. (8,1).

Morbid and Miserable Records

Tikoes Kecemploeng Production

1. Worldwide Terror 05:02  

2. Warriors of the Lie 06:29  

3. Generation of Pawns 04:41  

4. Newborn 08:07  

5. Really Your Life 06:31  

6. Eight Billion Headed Whore 05:14  

7. The Brightest Night 05:04  

8. The Blackest Morning 07:15  

  48:23

Volcanic  ‎– Okkult Witch (picture disc) 9,99 €

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

WEHMUT

 

Origen: Alemania, Arnstein.

Formados: 2021

Estilo: Black depresivo.

Temática: Abuso de sustancias, autodesprecio y depresión

Enlaces: Bandcamp, facebook, instagram y spotify.

Miembros:

• Johannes Rieß Todos los instrumentos y voces

Discografía:

• Catharsis CD 2021  
• Skognatt / Wehmut Split 2022
• I: Herbst CD 2023  
• II: Winter CD 2024  
• Excerpts from Broken Minds Split 2024  
• Der Erste Sturm Single 2025  
• Ohnmacht-Angst-Wut Single 2025  
• III: Frühling CD 2025  
• Schwellender Rachen Single 2026  
• Lastlos Single 2026  
• IV: Sommer CD 2026

IV: SOMMER (2026)

Cuarto larga duración para Wehmut con el cual cierra la tetralogía centrada en las estaciones, aunque con un simbolismo que recorre otras aspectos relacionadas con la infancia, la vida adulta y el paso hacia la madurez y consolidación de la personalidad. El álbum se centra en un sonido que augura un álbum de black depresivo, sin embargo Johannes logra recoger diferentes influencias que acaban por tener un peso significativo en el conjunto como puedan ser sonido post-rock o blackgeaze, que por un lado abren el espectro de su propuesta, al mismo tiempo que lo enriquecen. Sin abusar en exceso de los pasajes repetitivos, pero si que con cierto peso sustancial a lo largo del álbum, que sirven como sustento y zona de seguridad para el grueso de la composiciones. Así es como se mantiene el equilibrio entre esas melodías impregnadas de melancolía, un carácter oscuro y desgarrador y la inclusión de secciones algo más directas junto con un ritmo hipnótico. Hay espacio para plasmar todo el sufrimiento que desprende la persona de Johannes, haciéndonos participes del sufrimiento tras perdida, del amargo sabor de las injusticias, de los trastornos mentales y del desarrollo de la personalidad con el transito de la infancia a la edad adulta, para ello sabe trabajar un carácter en su propuesta que se presenta pausado, elaborando hasta cierto punto, intrincadas melodías, con cierta ambigüedad que permiten descubrir en medio de lo que parecen secciones evocadoras, otras con un carácter mucho más crudo e impregnadas de desesperación. Buen dominio a la hora de saber trabajar un ritmo que sin llegar a ser del todo pausado, permite ir meciendo a oyente en un delirante estado de ensoñación, a veces roto bruscamente con elementos más directo u otras con la presencia de elementos más limpios y accesibles. Es aqui donde ese tono más post-rock o blackgaze se hace más presente, permitiendo que la música de este "IV: Sommer" no acabe por recorrer un camino de no retorno hacia el padecimiento más absoluto, sino que da muestras de querer albergar algo de esperanza. Sin embargo en las voces si que se despliega una faceta mucho más centrada en un estilo depresivo, sin apenas concesiones cuando quieren mostrar toda su crudeza, o incluso allí en donde se quiere posar algo de esperanza acaban por sucumbir a la ponzoña. Un cuarto álbum que partiendo de un estilo como el black depresivo, logra ofrecer también una combinación y aporte de otros estilos, que acaban por plasmarse en un sonido que abarca terrenos como el post-rock. (8).

Naturmacht Productions

1. Brennende Brust 07:24  

2. Schwellender Rachen 05:59  

3. Bebender Puls 05:48  

4. Lastlos 08:01  

5. Losgelassen 10:40  

6. Wenn der Abend dämmert 04:14  

  42:06

Carved Cross / Empire Of Hate 29,99 €

Vinyl, 12", Reissue

ETHEREAL ROT

Origen: E.E.U.U., Portland.

Formados: 2019

Estilo: Blackened technical death metal

Temática: Apocalipsis, guerra, horror cósmico, Lovecraft y muerte.

Miembros:

• Brett Horton Guitarra
• Cody Moreau Voces
• Dan Train Guitarra
• Duncan Fosnough Batería
• Taylor Belanger Bajo

Discografía:

• Until Existence Is Diminished Entirely EP 2020  
• Cadaverine Skies EP 2023  
• Ethereal Rot CD 2026

 ETHEREAL ROT (2026)

Primer álbum de estudio para esta banda estadounidense de sonido profundo y cavernoso que se mueve con soltura en las profundidades de un death técnico, secciones de puro blackened death metal a la vez que incorporan una fuerte carga de profundidad y aislamiento. Centrados en trasmitir una atmosfera cargada y terrorífica, con constantes referencias a un horror cósmico, a un hedor a muerte y desolación, lo cierto es que lo consiguen sobradamente. Para ellos se emplean a fondo a la hora de golpearnos con profundos y violentos riffs, los cuales más allá de la densidad que pueded llegar a trasmitir, también logran ofrecer un plano de oscuridad insondables. Empleándose a fondo a la hora de interpretar secciones que son pura violencia sónica, con un regusto a disonancias, ritmos entrecortados que cortan el aire como un cuchillo preciso y mortífero. La batería desprende un tufo a maquina de destrucción masiva. densa, hiriente y si se me permite a la hora de dibujar no solo un sonido sino un ritmo muchas veces lacerante e impenetrable, cavernoso y asfixiante. Con un ritmo a veces macilento, pero siempre enfocado en crear un tono inmersivo, que se ve acompañado de un sonido tanto de bajo como de guitarras enfocado y centrado en sembrar el caos, no exento de cierto tecnicismo, pero siempre preciso a la hora de lograr profundizar en esa vertiente hasta cierto punto caótica, donde a cada poderoso riffs, le sucede otro con una mayor densidad y profundidad, con melodías ambiguas, con desarrollos inmersivos y complejos, pero con una atmósfera lograda, que permite sumergirnos cunado menos en un paisaje inquietante y de proporciones escalofriantes, en donde nada es lo que parece, prevaleciendo un terror a lo desconocido. Contribuye al tono general del álbum un enfoque a las voces que desarrollan registros enfocados hacia la oscuridad y la profundidad, enfatizando la carga de oscuridad de la música y completando un cuadro con un registros que acaba por caer con todo su peso sobre el oyente. El resultado es un álbum que tiene un fuerte poder inmersivo y profundo, cavernoso mucha veces, con un ritmo totalmente destructivo desde un enfoque que huele a podredumbre y morbosidad, que nos destroza  a base de un sonido que emerge desde las profundidades del averno. (7,6).

1. The Beckoning Contagion 03:57  

2. That Which Dwells 07:12

3. Festum Terrae 06:16   

4. Ophidian Womb 07:46  

5. Transversing the Cosmic Plains 05:44  

6. Into the Naught 08:45

  39:40  

Juniper ‎– Primeval Bloodlust 14,99 €

Cassette, Limited Edition

TORPOR

 

Origen: Polonia, Warsaw.

Formados: ?

Estilo: Black, heavy

Temática: Magia negra y terror

Enlaces: Facebook.

Miembros:

• Bloodhammer Batería
• Franciszek Archont Voces
• Mike Magister I.V. Guitarra
• Phil of Phalanx Bajo

Discografía:

• Burning Realms Single 2018  
• The Extremity of Dominion Split 2019  
• The Ancient Tales EP 2021  
• Burn the Sinner Split 2022  
• Ɖungeon Ɖescent CD 2026

DUNGEON DESCENT (2026)

A lo largo de su trayectoria los polacos Torpor siempre se han caracterizado por tener las ideas bastantes claras en cuanto a sonido, logrando combinar esos sonidos mas NWOBHM, con elementos black y dotándolo todo de un carácter épico. La edición de este primer álbum parece querer llevar al extremo esas influencias en su propuesta, por un parte el carácter más heavy de su propuesta se ha explotado al máximo, melodías incendiarias y evocadoras, un tono limpio y accesible, tanto en instrumentación como en voces. Por su parte la música se nutre de una oscura melodía que es difícil datar, por una parte tenemos esa épica que emana del conjunto, no exenta de un tono retro y oscuro, partiendo tanto de las influencias más heavys como también enmarcado en su épica puede hacer referencia a influencias más black. Ese equilibrio entre estilos, en primer momento hasta cierto punto antagónicos, conviven en este "Ɖungeon Ɖescent" de forma más que convincente, incluso en lo que puede sonar en un primer momento poco atractivo, por esta un tanto manido, acaba por dejar un regusto a sonidos que tiene un enfoque de bandas de referencia como Bathory en su vertiente más épica. Ofreciendo un despliegue de recursos rico y variado, en donde predominan unas estructuras de guitarra que cabalgan libres, enfocándose en secciones que son puro heavy clásico, más allá incluso de lo ofrecido en los ochenta, para adentrarse en década pretéritas, pero que de algunas manera siempre se muestran voraces a la hora de incorporar esos registros más crudos que puedan dejar cierto regusto a black, pero que acaban por casar perfectamente, para sin ejercer un contraste dantesco, si lograr equilibrar el conjunto, en forma de lo creo que es ese tono más épico del conjunto. Estos aspectos se encuentran perfectamente representados en un apartado vocal que aún sonando evocador y melódico, deja también un regusto adusto e inquietante. Un álbum que sin lugar a dudas lograr atrapar y sorprender, partiendo de terrenos más que conocidos, pero adentrándose en otros más arriesgados y diferentes, logrando hacer al oyente participe de una propuesta atractiva y diferencial (7,9).

Dying Victims Productions

1. Entrance 01:27  

2. Trespassing the Sanctuary 04:58  

3. Armoured Skeleton 04:49  

4. Ðungeon Ðwellers 04:56  

5. Polybolos 04:36   

6. Return to the Surface 04:55  

7. Scythian Chase / Last of Raids 06:44  

  32:25

Trhä ‎– ∫um'ad∂ejja Cavvaj 38,99 €

2 × Vinyl, LP, Album, Limited Edition, Green

POX

 :BKW: (BRASS KNUCKLES WITCHCRAF (2026)

Los belgas Pox se han tomado su tiempo para regresar a la actividad, casi siete años de silencio de por medio y una espera que creo que ha merecido la pena, aunque un álbum completo después de quince años de trayectoria tampoco hubiese estado del todo mal. Centrándonos en los cinco temas que contiene este nuevo Ep, uno no pude dejar de pensar en la buena salud del underground belga. Pox no han hecho nunca ningún tipo de concesión y con este ":BKW: (Brass Knuckles Witchcraft)" tampoco se lo han planteado en ningún momento, arremetiendo de inicio con un sonido directo y crudo, donde la agresividad y un tono clásico nos da la bienvenida. Aunque son solo cinco temas, en ellos podemos apreciar a una banda que ha sabido aprovechar el tiempo, por que más allá de un black infecto hasta cierto punto reconocible, todo se ve completado por influencias que podemos describir como punk, al mismo tiempo que el trabajo de guitaras es casi que soberbio, sabiendo mantener el pulso en esa faceta más cruda y directa de une estilo como el black metal, con un carácter retro, crudo y underground, pero que nos es impedimento también para trabajar diferentes texturas y arreglos de guitarras, ofreciendo secciones que quieren incorporar ciertos tonos más melódicos, al mismo tiempo que cierto dinamismo en la batería, permite ofrecer un ritmo oscilante que sugiere una preocupación a la hora de poder elaborar una atmosfera más oscura, y por que no inquietante. El tono de voz se muestra con pocas concesiones, alternando una faceta oscura, profunda, casi que cavernosa, con otra en donde la crudeza es palpable. El resultado final es un Ep que logra plasmar ese sonido más clásico de un infecto black metal, recordando muchas veces también a bandas ya consagradas, pero que al mismo tiempo muestra a una banda que sabe darle un toque propio y bastante personal a su sonido. (8,4).

Void Wanderer Productions

1. Luycifers kagie ende helscaps clove  

2. To Greifswald! 05:08  

3. The Flagellants' Howling  

4. Pox (BKW)  

5. Blackened (The Circle Complete)

Pox ‎– Pocken in Broekzele 5,99 €

Cassette, Compilation

FERALIA - INTERVIEW

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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GAEREA ‎– Gaerea 49,99 €

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