domingo, 13 de junio de 2021

GRAVE GNOSIS

 


Origen: E.E.U.U., St. Petersburg

Formados: 2015

Estilo: Black atmosférico

Temática: Muerte, ocultismo y satanismo

Enlaces: Bandcampfacebooktwitterweebly y youtube

Miembros:

  • Algid Batería
  • Caine Del Sol Guitarra y voces
  • Nova Teclados
  • Vikzaru Bajo
Discografía:

  • Birthing CD 2015  
  • Ophidic Nexion Genesis Split 2016  
  • Saturnian Majesty Demo 2018  
  • Transmissions Split 2018  
  • Lux Nigredo CD 2021
LUX NIGREDO (2021)
Segundo y por que no decirlo también, extensísimo álbum para los de Florida, que en sus poco más de setenta y cinco minutos nos ofrecen todo un álbum de base black atmosférico pero con su peculiaridades. El sonido, sobre todo como influencia principal en su base es un black que transita entre las influencias raw y las atmosféricas, sin embargo la extensión de los temas permite largos desarrollos en donde Grave Gnosis no han perdido ocasión para incorporar algunos sintetizadores a sus sonido que los aproxima a terrenos del death melódico, que de alguna manera también queda reflejado en su portada. El aporte de ciertas disonancias y un aspecto de psicodelia también acaba por tener presencia en el álbum. Aunque el black atmosférico logra que su sonido se vea impregnado de un ambiente de soledad, resignación y cierta inquietud, hay muchas parte de su música que fluyen de forma casi que caótica y sorpresiva en el aspecto que cuando parece que van a arrancarse con una línea melódica hacen acto de presencia las disonancias haciendo que su propuesta no sea un agradable remanso de paz. También existe un fuerte contrate en los pasajes acústicos de reminiscencias desoladoras con aquellos mucho más violentos y directos, repletos de rabia y desazón en donde la instrumentación y las voces se llevan al límite hasta explotar en una masa de sonidos desquiciantes. En definitiva un álbum al cual la definición de black atmosférico se le queda corto, en donde encontramos variedad de estilos en una propuesta no del todo accesible. (8,3)



1. Astovidat 09:37  
2. Anathema 08:36  
3. Necrosophia 11:40  
4. Sokushinbutsu 10:11  
5. Saturnian Majesty 07:47  
6. Ho Drakon Ho Megas 08:48  
7. Subverting the Life Force Current 05:40  
8. Noctifer 02:29  
9. Solipsist Dreams 10:16  
  01:15:04





TRANSPARENT EDITION
This masterpiece contains four tracks filled with negativity and raw energy. The superior composition which always stay true to black metal despite their atmosphere enthrall and inspire you every time you listen to them. This is a milestone of the Dutch style!

Powerful, yet full of pain; furious, yet mourning; technically and atmospherically crafted, this album will immediately satisfy you. LASTER write enthralling songs in perfect balance between superior composition, a harsh mood and Black Metal, which they live to the fullest. A Masterpiece!

First 100 copies in white color, second 100 in transparent and 300 in black color.

Tracklist

1. Alles wat mij bevalt, ontvalt me 13:37
2. Tot de tocht ons verlicht 10:03
3. Ik - mijn masker 15:03
4. De verste verte is hier 6:05

Total: 44:50





sábado, 12 de junio de 2021

FLOOD PEAK

 


Origen: E.E.U.U., Portland

Formados: 2017

Estilo: Blackened sludge metal

Temática: ?

Enlaces: Bandcampfacebookinstagram y spotify

Miembros:

  • Dylan Batería
  • Peter Guitarra y voces
  • Pierre Bajo
Discografía:

  • Plagued by Sufferers CD 2018
  • Fixed Ritual EP 2021
FIXED RITUAL (2021)
Después de la edición de hace casi tres años de su primer álbum, los estadounidenses regresan con cinco nuevo temas en formato EP que perfectamente podrían funcionar como un álbum y en donde se aprecia cierta madurez y concreción en el sonido con respecto a "Plagued by Sufferers". El EP transcurre entre la densidad y la pesadez de los riffs profundos de guitarra en donde el sludge metal se muestra como el elemento fundamental de sonido de esta propuesta en donde abundan algunas disonancias, cambios de registro imprevisibles y sobre todo un ritmo lento, pastoso y enfermizo que acaba por mancillar la conciencia y ele estado de ánimo del oyente. Algunos pasajes más "claros" que pueden traernos reminiscencias al post-rock y un cierto aire a arrebatos hardcore cuando la rabia se desata, así como pinceladas de estilos como el black, son lo más alejados que vamos a estar de post y el sludge. La extensa duración de los temas, en la mayoría de los casos, nos pueden ofrecer desarrollos largos que van encaminados a ofrecer una sensación de desazón muy acorde con lo expuesto por bandas como Neurosis en su momento. Las voces no juegan un papel realmente importante en el conjunto, teniendo más peso los instrumentos, sin embargo si que aportan un tono de desesperación y rabia a partes iguales. (7,8).




1. Urnfield 04:51
 Footsteps are accompanied by the scraping
Of the lifeless body I’m dragging
This is all for you
We will fall for you
I can’t hurt if I no longer exist
Place my back at the base of the coffin
Bury myself
Conceal the blight
2. Salve Curator 04:19
  I hear you calling but there’s nothing
That can pull me out from the earth
The dirt in my eyes
Keeps them from closing tight
My need to breathe has grown faint
Make me something, curate anything
That brings back a true warmth
3. Feral Wraiths 05:23
 We were their keepers
Their ignorant captors
Lying in wait, they found a way
Withered and hungry for despair
The night pales as their backdrop
Gloom consumes like starving wolves
As their sounds disperse
Shrieks flood the city
And submerge our souls
4. Way of the Sea 06:44
  We’ve sewn rocks under our skin
The only beauty within
My hands are too heavy
To keep me above water
The sinking is what keeps us
From making our way back
I want the salt to wake me
As it pours into my open wounds
5. Sectarian Hilt 08:57
Refuting silence, inciting violence We have become uniquely distant Reckless species unable to make a way Take this life, dig up the earth Bury it deep within the dirt The filth the hurt, it sinks our worth Unbearable needs hail the end The fog recedes around the bends And to my knees, I am the failure   
  30:14




Brown vinyl limited to 100 pieces





jueves, 10 de junio de 2021

GRABUNHOLD

 


Origen: Alemania, Dortmund

Formados: 2016

Estilo: Black

Temática: Melancolía y Tolkien

Enlaces: Bandcampfacebook y spotify

Miembros: 

  • Irrwycht  Guitarra y voces
  • Morgoth Bajo
  • Nekromant Guitarra
  • Olog-hai Batería
Discografía:

  • Auf den Hügelgräberhöhen Demo 2017
  • Unter dem Banner der Toten EP 2019
  • Heldentod CD 2021
HELDENTOD (2021)
Primer larga duración para esta banda alemana que ofrece un black metal inspirado por le universo de Tolkien y cuya propuesta se ve impregnada muchas veces de un ambiente melancólico. Partiendo de un sonido cuya base se sustenta en el undergorund más profundo, Grabunhold va desgranando los temas de este "Heldentod" casi que de manera perfecta y en donde como oyentes podemos apreciar dos aspectos destacables en su música. Por un lado tenemos temas con una duración más corta y en donde la bandas se muestra en todo su esplendor en una faceta mucho más directa de su música con guitarras rápidas y agresivas, con pocas concesiones a distraerse en atmósferas evocadoras y siempre teniendo en mente ofrecer un estilo que puede llegar a rayar en el raw. Sin embargo cuando los temas ganan en duración  su música también lo hace en matices, permitiéndose ofrecer un atmosfera más elaborada y en donde el peso de elementos que podemos relacionar con la melancolía van cobrando mayor protagonismo. Las guitarras cuentan con un sonido de influencias clásicas dentro del black, la batería no desborda en absoluto el resultado final del álbum y las voces optan por una faceta oscura y casi que ocultista. En definitiva Grabunhold han sabido ofrecer un trabajo de black metal inspirado en elementos clásicos tanto en el sonido que se sitúa en consonancia con lo que podríamos esperar de la escuela alemana como en una temática que le viene ni que pintada. (8,3).




1. Wolkenbruch über Amon Sul 08:59  
2. Hügelgräberhöhen 03:11  
3. Trommeln in der Tiefe 03:52  
4. Flammen und Schatten 05:53  
5. Morgenröte am Pelennor 07:46  
6. Fangorns Erwachen 03:22  
7. In tiefen Verliesen 04:49  
8. Der Einsamkeit letzter Streiter 08:48  
  46:40





Black 140 g vinyl housed in a single jacket. Includes an insert.
Limited to 250 copies.





miércoles, 9 de junio de 2021

DUSK

 


Origen: Costa Rica, Heredia

Formados:?

Estilo: Black metal industrial

Temática:?

Enlaces: Bandcampdeezer y facebook

Miembros:

  • Dusk Programaciones y sintetizadores
  • Implacable Guitarra
  • Pàlak Bajo
  • Shaman Voces
Discografía:

  • Eko EP 2016  
  • Epoka CD 2018  
  • Threnody EP 2019  
  • The Hermit CD 2020

THE HERMIT (2020)
Segundo álbum para esta formación costarricense que en sus orígenes fue concebida como una one man band. "The Hermit" es un trabajo que sumerge al oyente en lo profundo de la desesperación y la locura de mano de una propuesta que se sustenta del todo en los sonidos industriales alejados de todo preciosismos y sin ningún tipo de concesiones. Los comienzos con "Hermit I" ya auguran un sonido profundo y sumergido en las profundidades de la locura y la desesperación, sin embargo su propuesta se ve llevada al extremo sin vuelta atrás, como unos Anaal Nathrakh pasados de vueltas. La carga electrónica presente en la propuesta de Dusk no deja lugar para ni la más mínima concesión. Tanto sintetizadores como las programaciones consiguen que emprendamos un viaje al cual no le vemos salida, al sumergirnos en una atmósfera del todo cargada en donde se nos machaca con ritmos densos, constantes, algunos de ellos disonantes y con algunos resquicios de experimentación. Poco lugar queda para guitarras en esta propuesta, con un presencia casi que testimonial, sumergidas en la mezcla y repletas de efectos industriales y en donde se puede quizás intuir algunas reminiscencias thrash y en clara sintonía con propuestas como la de Fear Factory. Las voces también se ven inmersas en la maraña de sintetizadores, ofreciendo un sonido agónico. El fuerte de este álbum se encuentra en la potencia y profundidad de sonido de la mano de las programaciones y bajo, con pocos alardes en cuanto a melodía o atisbo de perfilarse hacia otros estilos. Algunos interludios de corte más atmosférico, sin que en ellos se pierda eso si, ese toque industrial y tampoco esa imagen de soledad y desesperación que impregna todo el álbum, nos pueden permitir un cierto respiro. En definitiva un álbum en donde la electrónica y todo lo que tenga que ver con el sonido industrial se encuentra perfectamente representado, resultado denso, caótico y muy profundo. (7,7).


1. Hermit I 04:38  
2. Desolation I 02:31  
3. Hermit II 05:13  
4. Desolation II 01:46  
5. Hermit III 08:37  
6. Desolation III 02:33  
7. Hermit IV 05:28  
8. Desolation IV 02:33  
9. Hermit V 06:47  
10. Desolation V 03:02  
  43:08





Vinyl, LP, Album

A1 Nadsvest - Ustolicenje Smrti I
A2 Nadsvest - Ustolicenje Smrti II
B1 Necrobode - Peste Negra
B2 Necrobode - Pisados Pelos Cascos De Satanás
B3 Necrobode - Inferno Escarlate





martes, 8 de junio de 2021

HULDER

 


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

Formados: 2018

Estilo: Black

Temática: Folklore belga, medieval y tortura

Enlaces: BandcampfacebookHulderinstagramspotify y youtube

Miembros:

  • Hulder Todo
Discografía:

  • Ascending the Raven Stone Demo 2018
  • Rehearsal 8/13/18 Demo 2018  
  • De oproeping van middeleeuwse duisternis Recopilatorio 2019  
  • Embraced by Darkness Mysts EP 2019
  • Promo 2020 Demo 2020  
  • Upon Frigid Winds Single 2020  
  • A Forlorn Peasant's Hymn Single 2020  
  • Godslastering: Hymns of a Forlorn Peasantry CD 2021


GODSLASTERING: HYMNS OF A FORLORN PEASANTRY (2021)
Seguramente este "Godslastering: Hymns of a Forlorn Peasantry" será tenido en cuenta como uno de los lanzamientos más interesantes de este 2021 una vez haya finalizado el año por varios motivos. Uno de ellos puede ser el inigualable comienzo con dos temas como "Upon Frigid Winds" o "Creature of Demonic Majesty" que entre ambos son capaces de recoger de forma acertada influencias de los inicios del género, en donde el black se fundía con elementos sobre todo procedentes del thrash resultado de todo ellos imposible no recordar a bandas como Darkthrone en la furia impuesta en los riffs o a Bathory también por el regusto a atmósfera épica que se intuye en segundo plano. A partir de aquí el sonido no pierde un ápice de credibilidad, anclado en lo más profundo del sonido clásico del black europeo de los noventa, sin embargo Hulder comienza a incorporar algunos arreglos de teclado en segundo plano, que completan los temas y los abren a una plano de sonido más medieval, ejemplos claros de los expuesto serían dos temas como "De Dijle" y sobre todo "A Forlorn Peasant's Hymn" este último tiene un inicio totalmente limpio tanto de instrumentos como de voces, hasta que explota y se adentra por terrenos del raw black metal. Sin lugar a dudas las voces contribuyen a dar equilibrio también a la agresividad y a la oscuridad del sonido con una propuesta acertada en donde suele adoptar un tono más orientado a la crudeza. Sin miedo a equivocarme estamos ante un trabajo que bebe directamente de las influencias del black más primitivo que sabe incorporar elementos atmosféricos que lo lleva hacia terrenos de ambiente medieval y en donde no podemos pasar por alto una producción que sabe encontrar el equilibrio entre un sonido rudo y sucio pero en donde todo suena equilibrado. (8,2).



1. Upon Frigid Winds 03:22
Almighty force of the damned Awakened by eons of pain Born of destruction and carnage Brought to light once again Upon frigid winds we ride Blaze the path of retribution Clashing of mere mortal weaponry Force of evil remains eternal Scars of the flesh will not deter The drive of of darkness’ force Rip and maim the opposition With no shred of human remorse With utmost faith in evil’s curse Move forth in the shroud of night Heed the peasant’s call to rule the land By gleaming of dawn’s light To beyond - the sanctioned suffering we shall no longer abide To retrieve - the reign of evil once lost Ride on - in triumphant procession Hail the darkness - drive forth the pursuit of carnal freedoms Upon frigid winds Almighty force of the damned Awakened by eons of pain Born of destruction and carnage Brought to light once again Upon frigid winds we ride For an eternity if need be  
2. Creature of Demonic Majesty 03:33
   A golden flag waves over head-march forth with hate
The symbol of the chosen land and what lies beyond the gate
No price paid can deter the loyal legions of the beast
Into battle to suffer for the creature of demonic majesty

Endless war
Battle is the blood of the beast
Trample the fallen
Torn flesh drives the will to defeat

Long have fought the able ones for the land the creature blessed
Long have died the able ones with beast emblazoned upon their chests
Days and nights of unceasing might unleashed upon the hordes
Inherent will to stand and fight as the implement of it’s horns

Endless war
Battle is the blood of the beast
Trample the fallen
Torn flesh drives the will to defeat

The treaded path will never fade when trodden as it wills
Creature of demonic majesty feasts but never fills
No holy rite can wash away the power the beast creates
Uphold the torch of evil’s will and march forth with hate
3. Sown in Barren Soil 04:43
  Through pangs we work the land
With pain of bloodied, blistered hands
A weathered plane where life has ceased
Demanded praise from papal beasts

Ground is turned to no avail
That once bountiful proven frail
The well of eternal splendors has dried to holy endeavors
Warding off the bitter cold, cloaked in disease ridden hides
Withered spirits worked down to bone by deliverance through sacrifice

Sown in barren soil
Scant harvest is the omen of sorrow
Sown in barren soil
The noose of famine hangs for all to see

Long has been foretold the exhausting plight of man
Though withered torn and cold, through hardship we shall stand
No solace is sought in allegiance to those who suffer not
The hunger takes our strength, but our wills can not be fought

Shepherd peoples with your scepter
The flock of your possession
That dwells itself in the woodland
In the midst of a fruitful field
Let them feed in the promised land as in the days of old
Until then we reap abysmal yields
Sown in barren soil
4. De Dijle 06:33  
Door het huilende woud
Loop ik een verlaten pad
Nooit gebonden nooit ongedwongen
Voor altijd een met wortel en aarde

Een glinsterende stroom verleidt mij
Ik tuur vanaf de waterkant
Op een bodemloze groeve
Voor een zinkende geest

Op maanverlichte pad volg ik een geluid zo puur
Het trekt mij aan als een nieuwsgierig kind
Hoewel ik voel dat ik voor altijd verloren ben
Geef ik gehoor aan de oproep van een oorverdovend lot

In de rustige heide wonen de verbannen zielen
Die dansen in betoverende duisternis
De belofte van stilte en breking van doodstrijd
Wiegt mij in eeuwige sluimer
5. Purgations of Bodily Corruptions 04:23
  Mist will rise from bloodshed on frosted fields
Pestilent tithes extinguish life and crushing yields
The twisted knife to purge and bleed
Eclipsed with plague
Carries death with moonlight veil

Damnation’s call to me
In time of tragedy
Winter’s noose-like grip
Attack of mace and whip

Frigid winds blow strong through the barren plains
Death sweeps through the city with extreme ferocity
Hooves tread upon the freshly turned ground
Famine’s victims devoured by hell’s hounds

Purgations of bodily corruptions
Votive offerings
Prayers unheard
The pain of life’s defeat
A withered life in fragile hands
Damned to be disinterred
6. Lowland Famine 05:26
   Mother of famine benighted in blood
The common man’s plague helpless to the inevitable
How can you demand such suffering of those devout?
You’ve razed the fields and brought forth drought
A future of grimness awaits those who stay blind
Some pathetic tome or the passing of time
Waste not want not the flesh of those lost
Those bound to work thresh the yield dead from frost

Upon the moon I gaze
A lowland vision appears
I call upon you mother
Absolve us of our fears
But the night sky yields no forgiveness
No resolution from that which plagues
A cold and dreary silence is the answer to our prayers

Mother of sufferance will punish unmercifully
Candidly she watches
And revels in our agony

You have taken that which affords us life as if snuffing out a dying flame
Gratitude is no satiation
For your hunger it will not cease
On our fears, our pain, our peasantry
With devastating appetite our mother glibly feasts

Upon the moon I gaze
A vision of lowlands lost
I plead with you: oh mother
Why have you plagued us with such frost
A black sky yields no forgiveness
No solution for that which maims
I hear our mother’s laughter
As her children endure such loss
7. A Forlorn Peasant's Hymn 06:03
  Ik lig hier naast een wilgenboom
Vergeet mijn leed in blijde droom
Een merel in een verre heg
Zong luide van vergane dag

Ik dacht aan’t lang verlaten huis
Ik hoorde weer het zacht geruis
Dat s’avonds door de linde ging
Oh wat een blij herinnering

Nog peinzend zie ik t’bloedend rood
En schreed dan in ten groten dood
En stilte zong de avond wind
Gebeden voor dood mensenkind

A trail of fallen kin lie before me
As far as my tired eyes can see
A bloodred horizon to illuminate my path
I hear their cries as they share in my agony

Eternal winter brings crushing despair
I beg to be blessed by slumber
Dreams of death’s embrace flood my thoughts
May in cradle me forever
Destined to carry the torch of time
Frost bitten fields is where I belong
Alas I sing a forlorn hymn
As the peasantry works on
8. From Whence an Ancient Evil Once Reigned 05:07
From the whispers of long lost tongues A tale is deciphered of the olden days When evil reign held courtship o’er the lands And beasts of untold might grazed upon the fields From cracks within the weathered stone A fog of ancient wisdom beckons It envelops the very heart of my being And calls do the depths of my soul An Illicit freedom to behold Devoid of holy inhibitions A path of darkness blazed through lands bereaved I heed the call of medieval darkness From whence an ancient evil once reigned Douse the light of the fickle flame Unveil thyself or fade away forever Lie in wait to rule again A clear path forms for evil’s heir apparent A primal invocation uttered No longer mute in subservient reverie Born to reign in pristine succession By the accursed blue flame of blasphemy
  39:10





- 350gsm Jacket with inside flooded in black and matt varnish
- 140g Black Vinyl
- 12 page A4 size Booklet on 150gsm Art Paper
- A2 Poster on 150gsm Art Paper

- No text or other markings in dead wax runouts on either side.





MALAKHIM - INTERVIEW



1. When did you decide to create Malakhim? What does Malakhim's name refer to and why did you decide to use it for the band?

I can’t recall the exact time, but somewhere around 2015/2016 we started talking to eachother about rehearsing together. The idea then was to rehearse and see if there was any chemistry, and after a few months of the usual cover rehearsals we also had some songs of our own.

The name Malakhim we drew from the hebrew mal’akh. The meaning of “Messenger” or “angel” seemed very fitting at the time, and it also felt like a quite unique one. It was selected as we were discussing what identity to pick, and everyone was kind of drawn to it more than any of the other suggestions that were discussed at the time. 


2. Malakhim has released a demo, an Ep and a live before “Theion” to date, have these previous releases served to polish and shape the definitive sound of “Theion”, as a way to test yourself as musicians?

Yes. The first two shorter releases were essentially about finding synergy in the band and a coherence in our writing. The first three tracks were written with quite a lengthy timespan between them, while the process sped up significantly for the second EP. The idea was to push some shorter releases before attempting a full-length album so to solidify our sound and our writing. The live tape was done as a spur of the moment decision as the soundboard recording of that gig was available and sounded quite good, and we wanted to give an insight into a more untamed version of the band. 


3. How has the composition and recording process of the new album been compared to the previous releases? How is your way of working on the new songs? What brands of instruments do you use to compose record?

Like the older releases to be fair – ideas are brought to the band and then accepted or rejected, refined, rearranged and eventually a raw recording is made as well to test vocal arrangements. We again used the same studio as the other albums – Wolf’s Lair / M Norman who has been a solid foundation for the sound of the band since day one. Drums were recorded elsewhere, with the aid of B Bergström who was also involved in the I recording. As this set up has worked so well we saw little reason to alter it.

As for instruments – AN uses ESP Guitars, AK uses Jackson, TK has an Ibanez GSRM20B and VT has a Yamaha Stage Custom standard, Paiste hi-hat and Zildjian rides/crashes. 


4. Although coming from Sweden it is true that the sound of “Theion” may somehow recall the Swedish black sound, but it is also important to highlight other elements that make the album enrich its sound thanks to different influences. How would you describe the sound of the album for those who have not heard it yet? Is the presence of AN (Naglfar) on guitar a fundamental factor when defining your sound?

Everyone has different reference points when talking about an album depending on what you grew up on or from what era of the genre you belong to. I would just describe it as a black metal album, as that is what it is to me. The genre has always been difficult to define sound-wise – kneeling to no master - as especially early on there was a wide range of bands that fit under the umbrella. Listening to the early works of Bathory, Ulver, Mayhem, Darkthrone, Dissection, Thorns, Immortal, Emperor – all these bands tap into different musical elements and mold them into pure sinister art – they all have a different sound, but ultimately, they are all black metal. 

AN contributes to the sound like everyone else in the band. 



5. Another important aspect is your music is the lyrics around Satanism, how important is it for you to be able to deal with these issues in Malakhim's lyrics? What meaning and importance does Satanism have in your life?

Black Metal needs the sinister aspects of Satan to call itself Black Metal in the first place, so to me this is a key element. The essence of the Devil permeates the art we make, to me this cannot be any other way. Most of my lyrical output isn’t written with any kind of framework, it starts with a row or sometimes even just a few words. 

I consider myself a religious person, and how this manifests is a quite private aspect that is best saved for a more private setting. 


6. When writing the texts for Malakhim, do you work first on the music and then adapt the lyrics or vice versa? Do you consider Satanism to be an inherent aspect of black metal?

No, most of the time I have some ideas prepared, and once a track is done, I will review and see if I have something that fits with the mood and the vibe of the song. I try to match the lyrical content with the general vibe I pick up from a track. Sometimes the songs are written for the lyric, as was the case with Hammer of Satan for example. 

I believe I already answered part of the second question above, but yes, Satanism is an inherent aspect of black metal, but black metal is not an inherent aspect of satanism. 


7. Unlike the more austere covers of your previous releases for “Theion” you have chosen to work with Mitchell Nolte, why did you decide to work with him and what do you intend to reflect with the album artwork?

So, the idea has always been in my head to keep the EPs and “smaller” releases more barebones – and maintain a similar aesthetic. If we find ourselves working on another EP, I am certain we will return to the more austere aspect as I find working with the same artists incredibly rewarding, there is a chemistry built up when doing something like that which I find electrifying. 

For Theion we wanted something grandiose. I had seen some of Mitchells other works randomly online quite a while ago and had an idea that he might be an artist I would like to work with one day. Fortunately, he agreed when we approached him. He was given quite free reign, only the lyrics and eventually also a raw demo of the title track – we discussed the general optics, going into John Martins “The Great Day of His Wrath” as a general mood we would want to tap into. I think the cover captures the overarching mood and feeling that Theion is meant to convey – one of fiery triumph, of strife, sacrifice and ascension. 


8. Has this period of confinement served you to be able to dedicate more time to Malakhim in some way and thus be able to have the new album ready? In what way has not being able to offer concerts be a handicap for the growth of the band? How have you kept in contact with your followers?

No, we have kept quite low activity during the pandemic in general. The idea was to do some gigs in support of the album, but that has clearly not manifested. I think not being able to play to support the album has of course meant the interest is not as big as it could have been, but I am no real expert in any of this. We have used social media a bit to give some insights into the album – the panel spotlight was done to give some background to each track as an example, but generally we do not want to overuse social media. 



9. Since your beginnings you have had the support of Iron Bonehead when making your physical editions, how did the possibility of working with them come about? Do you think it is important to be able to offer your followers different physical formats so that they can choose ? In what format do you like to listen to music the most?

When we released the demo digitally, I contacted Patrick about it, and he expressed an interest in releasing it – the rest is history. I think it is good to offer the album on all formats if it is done with no compromise on the vision and idea. 

I listen a lot to vinyl – I find this gives me a lot of time with the actual release, going through lyrics, booklets, looking at artwork and liner notes etc but obviously today I also do listen to a lot of digital releases as well, but I make a point of buying physical copies whenever I can. 


10. How were your beginnings in music: the first albums you bought, the first concerts you attended, etc … What made you want to be musicians?

The first albums I bought myself were Metallica - Kill ‘em All, G’n’R - Use Your Illusion and Kärlek & Uppror by Ebba Grön – I can’t recall exactly how old I was, but it was through this tape subscription thing my parents were involved in where you picked 5-6 albums each month and got extras. As for first concerts I attended, there was a lot of activity in the town as we had a public house where a lot of concerts were hosted. I cannot recall what it was, but likely it was Punk/HC gig when I was 13-14. When I was older, I think my first proper festival/gig experience that left a lasting impression was seeing Mercyful Fate at Sweden Rock Festival in 1999. 

I cannot really say what drew me to wanting to do music. Just something unexplainable that called out to me somehow. I get quite a rush from rehearsing or playing live, it just speaks to me. 


11. How do you see the health of the black metal scene in a country like Sweden? How do you think it has evolved over the years? What can you tell us about the local scene in a region like Västerbotten?

I do not really know to be honest as I do not have much contact with Swedish bands, even less so the local ones. The circle of people I meet and hang out with regularly here is quite limited, so the local scene here to me still consists of bands like Ancient Wisdom, Naglfar, Bewitched etc. which are essentially the same few people. The guys in Mortuus were local before, but one half of that band have moved south a long time ago. There are some newer bands around too, but I do not have much insight into them or know them well. 

Over the years, black metal has become more accessible. In some ways that has drawn in a lot more scene tourism where people scratch the surface and find themselves appalled at what they find. There has always been various themes coming and going within the scene, and in its current state I would say it is doing quite well despite a plethora of quite underwhelming material, there are still a few active acts of both old and new pedigree that keep the flame burning. 


12. Which album represents the essence of black metal for you? What recent albums have you compared?

Easy. Mayhem’s “De Mysteriis Dom Sathanas” is what I would recommend to anyone who want to feel the audial essence of evil. 

As for newer releases, the Syning debut and the new Misotheist are getting heavy rotation. I have also found myself revisiting the Israthoum back-catalogue, the new Cross Vault album that dropped a few days ago and the new Grave Miasma. 


13. What future plans do you have for the band regarding upcoming releases, concerts, reissues, etc?

We have some gigs that we hope to be able to do towards the end of the year/start of next year. Theion is also being released on tape by Impure Wedding Productions during the summer, and a repress of the LP version is also inbound (but taking some time due to the pandemic). As for upcoming releases, we will see what time brings. 


14. Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Malakhim fans this is the place. I hope the questions have been to your liking

Thank you for the interest.

HUNGRY ARE THE DAMNED! 

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Holocausto Em Chamas ‎– לָשׁוֹן הַקֹּדֶשׁ    

19,99 €



Regular Edition with White on black splatter record housed on a 350 g regular, printed on the reverse side with 3 mm spine + A4 insert, limited to 200 pieces.






lunes, 7 de junio de 2021

GRIEF OF DESTRUCTION

 


Origen: Alemania, Nuremberg.

Formdos: 2008

Estilo: Black, metalcore y thrash

Temática: ?

Enlaces: Bandcampfacebook y youtube

Miembros:

  • Benny Voces
  • Dominik Guitarra
  • Jörg Batería
  • Markus Bajo
  • Stefan Guitarra
Discografía:

  • Shattering Atmosphere CD 2014  
  • Black Void CD 2020

BLACK VOID (2020)
Segundo larga duración para los alemanes en un sonido que sabe combinar tanto elementos más tradicionales de estilos como el black o del death melódico, con otros más actuales que le dan un toque industrial al conjunto. El álbum logra sonar compacto logrando que los diferentes estilos descritos encuentren su punto de unión en un sonido que podría definirse como death melódico, sobre todo por el el peso de elementos como la guitarra y las voces tienen en el resultado final del álbum. A diferencia de muchos trabajos que encuentran su principal lastre en la duración de los mismos, hay que comentar a favor de este "Black Void" que a pesar de sonar bastante continuista si que es cierto que logra ofrecer un resultado final totalmente compacto y sólido. El buen hacer de la guitarra logra dar sustento a todo el conjunto, sobre todo con unos riffs que sin llegar a ser del todo crudos y afilados si que se dejan abrazar por un thrash más pulido que no deja pasar ocasión para recrear algunas melodías que se ven acrecentadas por unas voces profundas y densas con un tono que también ofrece cierta melodía. La batería contundente y potente, dejando un regusto a elementos death se muestra bastante versátil. Tal vez en lo más profundo de todo este álbum podamos encontrar también ciertas influencias de tintes black, sobre todo en aspectos como la crudeza que quiere a veces asomar a través de los riffs. No podemos pasar por alto tampoco el echo de que el sonido del álbum a veces toma ciertos giros inesperados hacia terrenos más modernos en donde el metalcore cobra  cierto protagonismo en forma tanto de intensidad, como de rabia, sin perder de vista la agresividad y la melodía. Estamos ante un trabajo que sabe ofrecer un sonido contundente sirviéndose de diferentes estilos dentro del metal extremo. (8,4).


1. Intro 00:57  
2. Artificial Crown 06:22  
3. Bloodust 06:00  
4. Transitory Era 03:26  
5. Beyond Arcane Death 05:51  
6. Denial(l) 06:03  
7. Mastery of Vengeance 06:27  
8. Grief of Destruction 05:23  
9. Axiom Oxymoron 08:05  
  48:34





2 × Vinyl, LP, Limited Edition, Brown/Black Swirl