jueves, 29 de octubre de 2020



Origen: E.E.U.U., Suiza.

Formados: 2002

Estilo: Ambient, black metal

Temática: Cosmos, desolación, guerra e invierno.

Enlaces: Bandcampfacebook y spotify


  • Black Sorcerer Battle Bajo, batería, guitarra y voces
  • Vinterriket Teclados


  • Eternal Throne CD 2008
  • Ancient Wraith CD 2011
  • Enshroudment of Astral Destiny Split 2012  
  • Cursed Storm of Ages CD 2013
  • I - Dark Dragons of the Cosmos CD 2016
  • II - Frozen Light of Eternal Darkness CD 2017
  • I - Dark Dragons of the Cosmos & II - Frozen Light of Eternal Darkness Recopilatorio 2018
  • Abyss Horizons CD 2020
A pesar de ser un álbum grabado sólo por Black Sorcerer Battle, Battle Dagorath sigue entregando un sólido trabajo de black metal que los mantiene como referente y estandarte del black metal, llamémoslo cósmico. Un extenso álbum, marca de la casa, que nos sumerge en un mundo de oscuridad y soledad, viajando a la profundidad del espacio como un ente alienígena, rodeado de silencio y oscuridad. Tal vez este trabajo, aún manteniendo un buen número de pasajes atmosféricos y acústicos en donde uno puede perder tanto la noción del tiempo como de la realidad misma, construidos sobre guitarras acústicas, teclados, sonido ambientales, silencios insondables y susurros inquietantes; no es menos interesante comprobar que se ha intentado ofrecer un mayor contraste al ofrecer unas partes mucho más agresivas de áridos pasajes de guitarras distorsionadas y voces agresivas, creando un contraste brutal entre ambos registros. El álbum no ofrece ningún tipo de concesión y tan pronto se muestra contemplativo e intimista como a la nota siguiente da un salto hacia un black enfurecido, muchas veces de ritmos y estructuras repetitivas, acercándose a terrenos del drone o el noise, que funcionan casi que como un mantra. Es difícil encontrar un álbum que logra trasmitir tanto a día de hoy, dentro de unos registraos tan antagónicos entre si, pero que se sustentan y nutren entre al mismo tiempo de manera que esos contrates entre melodía y crudeza o entre pasajes acústicos y ambientales frente a un black mucho más directo, crea la atmósfera perfecta en donde el terror a lo desconocido trasciende al apartado musical y se erige como referente de este trabajo. (8,3).

1. Womb of the Labyrinth 03:16  
2. Incantation of the Vortexx 16:08  
3. Spectral Emanations 04:57  
4. Phantasmal Eye of Dreams 16:16  
5. A Voiceless Call 01:26  
6. Conjuring the Starwinds 14:14  
7. Twilight of the Cold Sun 09:21  
8. Saturnian Moons 07:39  

miércoles, 28 de octubre de 2020


1. Although the band band has been active since 2008, it seems that the name of Black Pestilence is much better adapted to the current times with Covid-19, why did you decide to use the name of Black Pestilence when creating the band ? At some point, could you imagine that it would be related in such a close way to the social events that we have experienced? 

In the beginning, starting as a one-man recording project, I decided on the name “Black Pestilence” simply because I like the way that it sounded. Never would I have ever thought that this name would be so closely related to a global pandemic. Although, a number of years ago I attended a large indoor music festival with some of my friends. During that time we did talk about how if there was an unknown virus being carried by one of the fans, how easily it could spread and the chaotic aftermath that would likely happen afterwards. 

2. Does the fact of creating a band like Black Pestilence respond to the need to create a band where you can express yourself in a more personal way, without feeling so pigeonholed within the more traditional black? What motivates you to create Black Pestilence? What Does Black Pestilence offer you compared to other bands you've been a part of?
Yes, that is exactly it. I did feel pigeonholed playing only traditional black metal, hence the reason for creating Black Pestilence and combining various genres with each other. I simply wanted to create music that I wanted to hear, regardless if someone would or would not agree with mixing elements from vastly different genres. Overall, I still see Black Pestilence as a black metal band, even if sonically, it may have elements closer to thrash/punk or crossover now. Black Pestilence does allow me complete control over the music I want to write and hear. Now that doesn’t mean I am some musical tyrant in the studio. Collaboration and contribution from the other members of Black Pestilence is still very important and is much more apparent now than the earlier years before. This can be best heard on our latest album, “Hail the Flesh”.

3. Your recent “Hail the Flesh” is the eighth album of your career, a career more than consolidated, how has the writing and recording process been for this album?
The writing process took about one year for this album and the recording process took around three months. In comparison to previous albums, this one we spent a much longer time recording. Most of the previous album took just over a month to record and release.

4. What aspects do you think have evolved in Black Pestilence since the recording of your first album “Vice” (2009), to the most recent “Hail the Flesh” (2020)?
Many aspects have changed since “Vice” was recorded. On “Vice”, I recorded all the instruments and used programmed drums. At that time, the nature of the music was much more chaotic and noisy. The use of the drum machine allowed me to program inhuman drum beats. At times, this allowed for a tone to be created as opposed to an actual drum beat. This was one of the key elements that made “Vice” a unique album and extremely different from any other Black Pestilence release. Now with, “Hail the Flesh”, the music is much more polished in terms of production, performance, and overall songwriting structure. Thrash and punk elements have also been much more common in Black Pestilence in the last five years.

5. In your most recent “Hail the Flesh” (2020) there are nine songs that, starting from a black metal base, have been added styles such as punk, noise or thrash, creating a sound that is completely recognizable for your fans. What are your main musical influences when composing songs like the ones on your last album? Is it very difficult to achieve the expected final result when merging so many different styles?
It would be difficult to list all the influences and bands that I like to listen to for inspiration. It changes quite frequently. The most important influence to be able to continue to merge multiple genres together, is to always keep an open ear and mind to whatever music you are listening to. Anything can be an influence, not just music. It could be the sound of cars driving by, absolute silence at night, anything. I never really thought too much about the difficulty of merging the genres together. Of anything, I find it easier because traditional black metal has so many restrictions. At the end of the day, regardless of how much of one genre is emphasized in a song more than another, it doesn’t matter. As long as it sounds good, that’s what matters.

6. Your lyrics also cover a wide spectrum, on the one hand we have the classic themes related to Satanism and on the other hand more current themes related to social issues, what is inspired when writing the lyrics and why do you consider these so many different interesting topics to focus on?
For many years, I have studied and supported Satanic philosophy in my personal life. Like anyone’s perspective, it shapes one’s worldview. It just seemed natural to continue to write lyrics that are related to this philosophy. Social issues and world events have always interested me as well. Again, this also just seemed natural to write lyrics on topics that I hold a specific stance on.

7. How have you dealt with and in what way have you been affected as a band by Covid-19? In what way do you think you have been harmed due to not being able to offer concerts since the album was released?
Since the cancellation of a number of shows and tours for us this year, we have pushed for a greater online presence. We filmed a few live performance videos featuring some songs off of “Hail the Flesh”. It was unfortunate that we had a large number of merch pressed for the shows we had booked this year but we are grateful of the people still continuing to order from us online. Overall, we have been forced to think outside the box and to start thinking about moving forward with the band in modern way.

8. All the members of the band come from Calgary, what is the extreme metal scene like in a city like Calgary?
Over the years since Black Pestilence first arrived on the scene, the Calgary metal community has improved quite substantially. There’s a lot of talented musicians and bands coming up the ranks and making some really cool music.

9. How were your beginnings in music: first albums you bought, first concerts you attended? What did you do in your lives that made you want to dedicate yourself to music?
When I was twelve years old, I remember my older brother was the first in my family to start playing music. At that time he played piano and guitar. He taught me how to play a number of different songs on both of those instruments. I knew I wanted to pursue music with the same enthusiasm as he did. Later on, he ended up showing me a video of a live performance by the Red Hot Chilli Peppers. After seeing that, I knew I wanted to play bass. 


0. You are a band that in a quite clear way you have always opted for the self-publishing of your albums, has there been no interest on the part of any record label to publish your albums or the self-publishing responds to a way of having your work more controlled?

In the beginning, no labels were interested in releasing “Vice”. It would have been a tough sell, so I can understand the lack of interest from labels back then. At that time, I didn’t want to wait around and saved up the money to release it on my own. Additionally, at that time, Black Pestilence was still very much a solo studio-only project. I had no intentions back then for it to become what it has today. In more recent years, there has been label interest and even a few re-released some albums on cassette. But overall, most of the label interest is minimal and what they are offering is usually a really bad deal. A few older albums I had talks with them being released through different labels but I always ended up self-releasing because that was still the better option.

11. What album represents the essence of black metal for you? What recent albums have you bought? And what album does not stop playing on your player?
The album that represents the essence of black metal for me would probably be any album by Marduk. The album that first inspired me to start Black Pestilence would be the self-titled album by Endless Dismal Moan.

12. One of the ways that bands have had to maintain contact with their fans, has been the work done on social networks with the inclusion of unpublished material, videos, etc. .. How have you maintained contact with your fans? what future plans do you have for the band?
Ironically enough, releasing “Hail the Flesh” in the middle of the pandemic allowed us to have lots of opportunities to interact with fans. It was something to talk about and there was a lot of press that we were able to share to keep people engaged. In Canada, some venues have reopened to allow for live shows but with limited seated audience. That is something that does interest us and we may take an opportunity like that if it comes our way.

13. Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Black Pestilence fans this is the place. I hope the questions have been to your liking.
“Hail the Flesh” is available now on CD, digital download, and streaming! We continue to press new merch available on our Bandcamp (https://blackpestilence.bandcamp.com/). Thanks for the interview!



Celestial Grave ‎– Pvtrefactio 6,99 €

- 300gsm Cardboard Jacket With 3mm Spine And Inside Flooded In Black
- 42g Black Vinyl
- Insert On 150gsm Art Paper
- Limited To 500 Copies



Origen: Bélgica / Finlandia.

Formados: 2018

Estilo: Black, funeral doom

Temática: Desolación, oscuridad y vacío.

Enlaces: Bandcamp y facebook


  • Déhà Todos los instrumentos y voces
  • Dryáda Voces
  • Nič CD 2019
NIC (2019)
"Nič" supone el primer lanzamiento para este nuevo proyecto en el cual podemos encontrar al multiinstrumentista belga Déhá (Maladie, Silver Knife, etc..). Esta trabajo consta de un extenso y único tema de cuarenta minutos que se mueve por terrenos del funeral doom e influencias black. Cabe destacar que es todo un acierto el echo deno  interrumpir el fluir de la música con innecesarias parsdas entre los temas y la fórmula adoptada en "Nič" de presentarlo como un tema sin pausas entre sus registros es un punto a favor. El álbum fluye de manera coherente y es capaz de no caer en terrenos del black depresivo o del doom más melódico gracias a sus diferentes registros empleados y a los cambios de ritmo tan precisos que encierra. El álbum suena profundo, denso y  muy oscuro, capaz de recrear emociones de soledad y sobre todo mucha vacuidad, al tiempo que mantiene un tono de misterio y frialdad que se completa con el del sufrimiento cuando las voces hacen acto de presencia. El sonido de guitarra destaca por su profundidad, es complicado recrear un tono tan grave, pero Sorta Magora sale airoso en este apartado al que hay que añadir la gravedad y pesadez que se presupone a su estilo. El tono del álbum se mantiene entre los ritmos cadenciosos y lentos, pero se han añadido algunos interesantes cambios de registro que elevan a veces el ritmo hacia terrenos de mayor densidad, provocando una sensación de mayor caos y destrucción. Las voces se muestras como aullidos desgarrados en la sombra, repletas de desesperación y sufrimiento y dan al álbum un plano mucho más agresivo y directo. Lo cierto es que este "Nič" sorprende con lo acertado de su planteamiento, acertando y haciendo gala de un gran despliegue de arreglos y que acaba por conseguir un atmósfera muy inmersiva. (7,8).

1. Nič 40:04
Túžim po noci, Nekončiacej noci Kráčam cestou dole Žijem bezcieľne Tie tiene Tie tiene sú vo mne Svetlá už umreli Svetlá už umreli Tie tiene sú vo mne Z prúdka sa vyčerpali Úplne - úplne Všetko tu žiari Túžim po noci Nekončiacej noci V úplnej neohrozenosti A duše pokoja Ja nevidím nič - nič A som tiene A svetlá umrú A ostane len čierno Len, len Len nič - nič A čierne - a čierne srdce Dym bude jediné Čo bude cítiť navôkol Pritiahnutý prázdnom A ničotou Biedny koniec Tomuto biednemu svetu A všetko sa vyčerpá Všetko tu žiari A všetko bude anulované Všetko tu žiari   

martes, 27 de octubre de 2020



Origen: Rp. Checa, Pilsen, Praga.

Formados: 2017

Estilo: Black

Temática: Realismo mágico

Enlaces: Facebookinstagram y Somniate.


  • Adam Kulich Bajo
  • Marek Štembera Guitarra y voces
  • The Meyrinkian Slumber CD 2020
  • Black Soundless Sugar Single 2023  
  • We Have Proved Death Single 2023  
  • We Have Proved Death CD 2023
Primer lanzamiento para está nueva banda de procedencia checa que cuenta en su line-up con músicos procedentes de la escena death del pías centroeuropeo. Este primer álbum bajo el nombre de Somniate se mueve por terrenos de un black metal de corte progresivo y está inspirado en el libro de Gustav Meyrink "The Golem". Somniate a tejido a lo largo de los cinco temas y el poco más de media hora de duración de este álbum un sonido black bastante directo y agresivo que encierra influencias tanto del death en sus formas, como del progresivo en lo variado de su desarrollo y estructuras, acabando por ofrecer incluso algunos elementos disonantes en el resultado final. El álbum conserva en líneas generales un tono entre lo melódico y lo directo en los riffs, con abundantes cambios de ritmo y con estructuras que algún momento se vuelven complejas, casi rayando lo caótico, acompañado todo ello de unas líneas de batería que se amoldan a un ritmo bastante constante pero con suficiente dinamismo para fluir cuando la másica de este "The Meyrinkian Slumber" expande su horizonte hacia lo progresivo y vanguardista. Las voces se emplean a fondo en una línea marcada por la agresividad y la violencia, por momentos formando un interesante tándem con la batería y trayendo influencias cercanas a los sonido death más recientes. "The Meyrinkian Slumber" es un álbum que podemos definir como variado, con un fondo de black pero con partes de diferentes estilos, que sin llegar a sonar complejo si que logra ofrecer elementos y matices que enriquecen el resultado final. (8).

1. The Sleepless Stone 07:24
  A cold rectangle of the moonlight
Descend into the pitch-black realms
Agonising restlessness
A dweller in between the worlds
Not asleep nor awake
In reverie, the rivers collide
The stream incoherent and spastic
A shapeless mass slithering down into the chasm

Unlike the crow of Gautama, the ascetic
I cannot banish the stone from my sight
Unbearable sense of my weakness
Overpowers me and binds me
My body asleep, senses detached
The ever-occurring question
Who am I
Who is this I now

Again and again
With obscene persistence
An obstinate voice keeps insisting
Tireless as a shutter
Blown by the wind against the wall
Like distant recalls

There is no escape from the void

A hundred times I dare to object
A thousand times I deny
I voluntarily give up all resistance
I cast myself into the stream
Of endless interrogations

There is no escape from the voice.
2. Rephaim 04:54
  Behold the fifth quarter
A district obscured and forgotten
Home of the restless shades
A heavy downpour
Waters both loathing and revulsion

All the strange people who dwell here
Human-like phantoms not born of woman
They drift through life with no will of their own

Animated by an invisible current
There is no one alive capable of laughing
The innocent times are long time past
Walls speak softly through vibration, cracks and smear
Old images keep surfacing like ominous sigils
Noises and murmurs
Withered laments

What an unexpected guest
This is the way he behaves when he feels at home
His book was speaking to me
Just as dreams can speak
A crown of red wood, the impregnation of souls
Words streamed from the unseen mouth
Took on life and came towards me

Alive yet without echoes
I can feel them drifting through me
Alive yet without echoes
I can feel them drifting through my very soul

Darkness has the upper hand
A firm grip on every corner, every street
Them houses outside
Worn stone and dripping wood
Emit incoherent howls
Nothing but a mere whisper
Crosses the threshold of perception.
3. In Bone Incorruptible 06:20
All I can hear is the wind That omnipresent blow Which makes lifeless objects move and events flow Of which it says in the Bible Thou hearest the sound thereof But canst not tell whence it cometh Whither it goeth In the grip of catacombs A room without an entrance Where a tomblike silence rules in the winter or in May Over the ones who have a reason to shun The light of day At first, nothing but darkness Decaying soil and fungoid growth Eight steps in all – the remains of an iron staircase Each one at head height above the last In regular lines – the patterns of the past The precise shape of a hexagram Entrapment Ankle-deep in dust, a vault too old The numbing slumber, the ruthless cold Enveloped my flesh like a stifling, soft woollen cloak That smudge of white – the Juggler Staring at me with vacant eyes As he went down into the grave, so he will rise up And so will I. 
4. A Penitentiary Triptych 06:44
  A shameful walk through the lamplit streets
Framed for murder
The days crept by
Week followed sluggish week

Shivering all the time
When the sun reveals its careless face
Unbroken rows of iron doors with massive bolts
Barred windows

The palace of rot, a dreadful home
A cavity with a pestilential smell
In the middle of the prison yard
A bare half-dead tree –
We are alike

My nails – all torn
A despair-ridden heart bound in scorn
I stared out into the black murk outside
It stared back devoid of life and soul –
We are alike

The roaming one
Lend me your sight
These eyes can reach where I cannot reach

I counted the hours
Praying for them to pass
What did it matter
Whether I reached my end
On the gallows
Or by my own hand

A half-open mouth
A corpselike face
Lips slightly restless
Through them old words are born
I will follow the voice
To a casket or to a throne.
5. Of Fragrance and Light 06:37
  The tinkle of glass
Red tongues of fire
A wild jubilant ecstasy
Coursing through my veins
One twist round wrist and leg
Behind the window
My past – a scorching flame

Hanging between heaven and earth
Head downwards, legs forming a cross
The rope twangs – stretch and creak
As I fall I grab the window-ledge
Smooth is the stone

Foremost of the dead
My throe is thine, each and every chain
As thy words become my words
The endless white trail
I shall forever reign.

domingo, 25 de octubre de 2020


1. Grave Circles was born in 2016, why did you decide to create the band and why did you choose the name Grave Circles for the band?
Hello!In all actuality a portion of the songs was written before 2016. 2016 was the year when the name of the band as well as the songs for the first release were chosen.
In terms of forming a new band - the new material didn’t really fit in the framework of the primitive and straight-forward style of Goatlfesh. Take the song De Laude Flagellorum for example. It is vastly different from the other songs on the Goatflesh EP. In the end of the day everything happened organically without a lot of planning or setting certain goals. The name was chosen in an old school way. No mysticism or pretentious names or any of the nonsense that has become popular this day and age. Simple and to the point, kind of like Grave, Entombed, Katharsis. 

2. How representative musicians of the band is Baal belonging to Peste Noire and KGD from Kroda and Stryvigor, at what moment do you decide to join to be part of Grave Circles? How does this Franco-Ukrainian union work?
Personalities do not matter. The music is what is truly important. KGD helped with recording of bass as well as guitar tracks on certain songs. The creation of the project as well as the writing process for all of the material on the EP and the Full Length was completed by Virus and myself. The only exception from this is Unspoken Curse which was written by the new guitarist - Exile.

3. After the release in 2017 of your first EP “Tome I” (, at the end of 2019 they have released their first full-length that gives continuity to “Tome II”, how was the process of composing and recording the album? What brands of instruments have you used for the recording, and how has the sound evolved between “Tome I” and “Tome II”?
Tome I and Tome II are factually one album. The tracks Thy Light Returneth and Predominance were actually written before Tome I. The plan was to include them and When Birthgivers Recognize the Atrocity with the three tracks that ended up on the Tome I EP and release a full length consisting of 6 tracks. We simply did not have the funding to pay for the studio and the recording of drums. We recorded three songs because that is all we could afford at the time. This came out as our Tome I EP. 
In terms of mastering Tome II we worked with Engwar who produced several Peste Noire albums -L'ordure à l'état and La Chaise-Dyable if memory serves right. For Grave Circles every new release is an experiment. We try looking for our own sound which not only fits the material but allows it to develop. For example our next album which consists of some older material is shaping up to be more raw, straight forward and dirty. It will be a total DIY project in every sense, including production.

4. Ukraine has been characterized by a black sound that in one way or another always manages to incorporate pagan elements such as the band Drudkh or the same Kroda, Precambrian, etc. How would you define the sound of Grave Circles and their latest “Tome II "? Do you feel that Grave Circles fits into the reference sound of Ukrainian black metal or is it totally different due to those experimental influences that we find in their sound? Which bands are for you a reference when taking influences to compose songs by Grave Circles?
We do not really think that the Ukrainian black metal scene actually exists. The Ukrainian stage has its style, but it has very little to do with black metal. Take any popular Ukrainian project in the scene and compare it to such unholy acts as Clandestine Blaze, Katharsis or Moonblood. The difference is immense. I would say that the Ukrainian stage is more folk/pagan than black. There are interesting projects like Kaosophia, Do Skonu, Nahemoth and Nocturnal Amentia which is not currently active. It is possible that I left someone out, but considering the size of the territory of our country it is only a tiny minority of bands. The real history of our land is in my opinion Hate Forest, Lutomysl and early Lucifugum.

5. Among the themes that are dealt with in the lyrics of their songs is the decline of the human being, what do you think this decline is due to, a spiritual, economic or social issue? In some way, the history of suffering of the Ukrainian people is reflected in your lyrics and in your music? What opinion do you have about Satanism, which is somehow also present in your texts? And why do you consider it interesting to discuss these issues?
I have a positive view of religion and spirituality. I make it a point to visit historical temples and churches in my travels. While there are many black metal fans who greatly admire the aesthetics of medieval European architecture, they often forget that the majority of these magnificent structures were built by the hands of Christians who are so thoroughly despised by many metal bands. The further one goes into the study of theosophy the more one goes to the well of christianity for answers and I find this to be an interesting endeavour. That doesn’t mean that the principles of Christianity are close to me or represent my own views. This isn’t the case. Having said that, talking to a thinking christian who is willing to have an intellectual discussion or debate is a much more interesting conversation than one with say a habitually drunk metal festival goer the extent of whose “intellectual” rhetoric begins and ends with “Hail Satan”. As it pertains to my personal faith - some things I have already found for myself, others I am still searching for. Perhaps eventually I will be able to answer that question more fully. I think the thing that unites the 90s and 2000s generations of black metal artists is the fact that they are simple headbangers at heart and their lyrics generally do not leave the accepted norms of the genre. There are of course exceptions from the rule. There are bands like Deathspell Omega, Acherontas, Ofermod and others whose lyrics are the fruit of contemplation and experience drawn from many sources and woven into their music.
I neither accept blind worship nor liberal satanism which begins and ends with self abasement to supposedly put oneself in opposition to the world. In modern times many so called cargo-cults have emerged and many black metal bands are at least somewhat involved in these movements. When these fledgling occult groups which are a mish-mash of “men, horses and chariots” so to speak are created bereft of tradition and organic historic development it is simply syncretism. (*). For example the worship of Pan God, Baphomet or Anti-cosmic movement. An example of anti-syncretism may be something like a solar cult which is found in many ancient cultures, or more traditional heathenism where the forefathers believing in the principles of dualism of light and darkness tried their best to appease both sides. *I am talking about “cherry picking” and mixing of the elements of different philosophies and religions. 

6. The album features the contributions of Lazareth, S.S. , Engwar and Pavel Vit, how did the possibility of these collaborations come about and what have they contributed to the final result of the album?
Lazareth is a french musician and a good friend of the band. He is responsible for all the brass instruments in Peste Noire. Some of the brass parts for our album were created during the initial writing process and some were added later. These experiments will continue in the upcoming album. Engwar also did the mastering work on Tome II.
Pavel Vit is also a friend and helped with the ambient part in the track Abstract Life, Abstract Death. We previously worked with him on a track found on the Goatflesh album - Pilgrimage to Icon of Sin. In short, without their contributions the album would not be what it is today.

7. The cover of the album "Tome II" stands out for its simplicity at the same time that it hides a duality, who was in charge of the design of the cover? What does the cover mean and how does it relate to the music of the album?
The combination of living human form and a statue was exactly what was intended, so I am very happy our intent was realized. Cover art was made by Alexander Held (Ubertragic Art). He is a great artist and black metal fan from Russia. Light and darkness. Man and woman. Good and evil. The piece depicts the ever present principle of dualism. The two opposites form a whole and one flows from the other. The one gives significance/faith to the other (key). See The Delivery of the Keys, or Christ Giving the Keys to St. Peter a fresco by the Italian Renaissance painter Pietro Perugino.There are also undertones of violence, imposing one's will/belief system on another. The hands that are transferring the key are covered in symbols: the sign of mercury - reference to the gnostics, whip - reference to the Khlysts (an underground sect which splist from the Russian Orthodox Church in the early 17th century), Ouroboros (an ancient symbol depicting a serpent or dragon eating its own tail), the grail and the all seeing eye.

8. For the vast majority of bands, the appearance of Covid-19 has led to the cancellation of concerts, how has this affected you? Do you see a short-term solution that allows you to return to the stage?
At this time Grave Circles is not performing live. The reason isn’t even Covid 19 but the lack of desire to play live and the logistics of the band being comprised of live and session musicians who live in different cities. This certainly complicates things in that regard. In addition to that there is the financial aspect which is a hurdle. Touring and performing live is a different sort of work, it is more of a routine and less of a creative process. Also to tell you the truth, I don’t really want to spend too much time thinking about our image or long preparations for touring. I’m not out to surprise or shock anyone, let the music speak for itself. 

9. For the publication of the new album in CD and vinyl format you have had the label "Les Acteurs de l'Ombre Productions", how did the possibility of editing the album with them come about? Are you satisfied with the promotion and editing work accomplished?
Yes, Ladlo are great people who follow through on their promises. Great group to work with. The album was ready when the contract was signed and to tell the truth I am very far from promotion so it’s hard for me to be the judge of that aspect of the business. 

10. Centuries of Human Rot is Baal's label, which has dealt with the cassette edition of “Tome I” and “Tome II”, why did you decide to create the record label? Will there be future editions on the label of other bands? What is your opinion of a format like cassette?
I really love cassette tape releases and there is an idea of releasing a small numbered edition. For now we are talking about releasing small editions of releases of Grave Circles and Goatflesh on tape. We will see what comes next. I doubt that this will become a big thing, but time will tell.

11. You come from the Ukrainian city of Vinnytsia, how would you describe the black metal scene in your area?
In all of our cities history we haven’t had a single black metal band. The city is 500,000 people but there are very few musicians and not many fans either. As of now there are a couple of poser heavy and power metal bands but other than that nothing. In our Post-Soviet world being a metal fan or musician isn’t really trendy. If you like heavy music, you must be some kind of freak. There aren’t many new people coming to the scene and as folks in the scene get older they leave to dedicate more time to family or work. So the older generation retires and the younger generation isn’t in a hurry to replace the old timers. That translates into lack of resources for even a regular rock/metal scene, nevermind black metal.

12. How were your beginnings in music: the first CDs you bought, the first concerts you attended? What did you do in your lives that influenced you to want to be musicians?
My first CD was a bootleg mp3 collection which was so popular at that time. Pirates got regular CD-r’s and burned mp3’s in 128-192 kbps format. They used regular printers to print cover art. Oftentimes the names of bands and band members were wrong. These went for about 4 dollars a piece. A real genuine CD was all but impossible to find. If I had to guess I’d say my first CD was the Moonspell Discography. My first real, genuine CD was Sepultura - Nation. It was their newest album at the time.
The first concert I went to was at a local metal session called Terroraiser. The band playing there was Smashed Face from Czhech Republic and a local band called Reactor. In 2006 it was pretty awesome. The sound was terrible but the atmosphere was incredible! 
My musical journey started in 2011 when I started to play drums in a post rock band which is now long gone. I was really inspired by Sepultura’s DVD - Under Siege. I am a big fan of their early material. As a kid I used to play air drums, kind of like other kids play air guitar, but for one or another reason I only got into music seriously in 2010 when I got behind a real drum set for the first time.

13. What is the last album you have bought? Which album defines for you the essence of black metal? yWhich album doesn't stop playing on your player?
RIGOR SARDONICOUS - Ego Diligio Vos + ENSHADOWED - Intensity
Si Monvmentvm Reqvires, Circvmspice by Deathspell Omega is the black metal masterpiece for all times. 
Regarding the album, to which I return from time to time.. All Katharsis albums. Never get bored listening to it. 

14. What immediate future plans do you have for the band? Are you already working on new songs with a view to an upcoming album?
At this time I am working on 8 tracks which were written together with my old guitarist Virus and Nocturnal who was a member of Goatflesh in 2014-16. I have 8 demos recorded and after processing they will hopefully become full blown songs for our next album which as I stated above will be a DIY effort. 

15. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Grave Circles this is the place. I hope the questions are to your liking.
Thank you for the interview!
Listen to the right music and support the underground. You, the listener are its foundation.


Black vinyl, limited to 300 copies, 12", EP, Limited Edition, Stereo

viernes, 23 de octubre de 2020

YFEL 1710


Origen: Polonia

Formados: 2018

Estilo: Black


Enlaces: Bandcamp y facebook.


  • Isil Bajo
  • Klimorh Guitarra y voces
  • Pająk Guitarra

  • Willa wisielców CD 2020
  • Kali Yuga Boys Split 2022
  • Zlatują się Ćmy CD 2022
Nuevo proyecto polaco detrás del cual podemos encontrar a Klimorh de los también polacos Non Opus Dei. Los seis temas aquí ofrecidos se mueven por terrenos del black metal digamos que clásico, opresivo, oscuro y denso pero también con algunos aportes que no desentonarían en un álbum de Non Opus Dei y he de decir también que todo el álbum se encuentra rodeado de un aura pagana que tan bien saben aportar las bandas ucranianas lo cual puede llevar a equívocos en cuanto a su procedencia. El álbum ofrece elementos reconocibles como unos riffs incendiarios que pueden llegar a ser casi repetitivos y llevar el sonido de este álbum a terrenos próximos al vanguardismo, sobre todo cuando las voces van desprendiendo gritos y aullidos de sufrimiento y violencia; y es que el apartado vocal de este álbum se antoja un elemento totalmente fundamental, logrando elevar el resultado final con variedad de registro por un lado y también por su dinamismo, aunque Klimorh acaba por dejar su impronta de manera que su estilo acaba por hacerse reconocible. El resto de sonido de este trabajo se centra en una vorágine de claustrofobia, elementos enrevesados, una batería que destaca también por la garra que acaba por aportar al conjunto. La temática se centra en historias reales acaecidas en la ciudad de Varmia y ese halo de misterio y terror acaba por hacerse del todo presente en este álbum al colarse de una manera u otra en la atmósfera que emana de "Willa wisielców".(8,1).

1. Szpital przemienienia - KORTAU 07:57
oto stoję nad wami udręczone dusze w przeklętych ciałach o złym czasie, w złym miejscu się spotkaliśmy kalekie dusze w przeklętych ciałach tamtej zimy z drzew spłynęło mleko konających z tego źródła piło czerniejące słońce głębia życia wypłynęła z nieskończonej pustki głębia życia - z nieskończonej pustki niosę wasze trupy ze sobą gdzie idę, tam - wy ze mną kalekie dusze w przeklętych ciałach trupy w moim sercu lecz chociaż przeklęci, poznaliście pełnię martwy uśmiech martwych dzieci wtulonych w piersi wypełnione pustką z drzew umarłych płynie mleko konających z tego źródła pije czerniejące słońce głębia życia płynie z nieskończonej pustki sukom konającym nabrzmiewają sutki szpital przemienienia stanął wam na drodze szpital przemienienia szpital przemienienia wzniósł się na mej drodze a czarne słońce gaśnie ponad murami a trucizną z moich ust jeszcze dziś, ostatni raz i oto gaśnie słońce nad nami trucizną z moich ust ostatni raz i oto gaśnie słońce nad nami trucizną z moich ust ostatni raz wzywam was o martwi, zabłąkani na tej ziemi o martwi, wiem że chcecie już odejść w krainę cieni o martwi, zabłąkani na tej ziemi o martwi, czas w końcu wyruszyć w krainę cieni Szpital Przemienienia. Kortau. Szpital Przemienienia. Kortau. Szpital Przemienienia. Kortau. Szpital Przemienienia. Kortau.  
2. Warszawska 107 07:14
   Diabeł w mej głowie budzi mnie

w krwistych ściekach świat gnije
dziecko zawisło na poddaszu
dziewczyna nie żyje
chłopak jej na pętli
tańczy swój ostatni taniec
śmierci taniec
powrozy na strychu
śmierci taniec

śmierci taniec
śmierci taniec
śmierci taniec

A nad wisielcem jeden kruk
i niebo martwe samotnością
a kruk ma twarz dziewczyny
co uśmiech dała martwym słońcom
a z nieba krwisty płynie deszcz
a może to tylko jej łza
Willa Wisielców dalej śni sen
w którym - dziewczyna, kruk i ja

śmierci taniec
śmierci taniec
śmierci taniec
3. Dead Landscape 08:17
chasing the sun chasing the moon left young return old now heavy silence reigns the place and her hair cover the sunset in a misty cold and all the rivers mournfully roll mourning for what I am finally bereft of a hundred lakes and no fish a hundred trees and no birds a thousand paths and no footprints a hundred towns and no men flocks of birds flew away only a solitary cloud wanders on and I sit alone with all this towering over me we never tire or bore each other the dead landscape and I  
4. Zachowaj mnie 05:46
  W złej woli i nienawiści
- zachowaj mnie
w niespełnieniu i w wiecznym szukaniu
- zachowaj mnie
W bluźnierstwie, do samego końca,
- zachowaj mnie
W tęsknocie za tym, co dalekie
- zachowaj mnie

król tej ziemi pełnej gówna i złota,
choć bogaty, to biedny, dusza stara, choć młoda

w płomieniach, które
posiadły drewno waszych domów
- zachowaj mnie
w piorunach, co kochają drzewa
- zachowaj mnie
które wspinają się wysoko
- zachowaj mnie

spełnienia nie niesie nic,
choć w ogrodzie złote krzewy
ani Ty, gotowa umrzeć,
chętna skoczyć w niebyt

W złej woli i nienawiści
- zachowaj mnie
w niespełnieniu i w wiecznym szukaniu
- zachowaj mnie
W bluźnierstwie, do samego końca,
- zachowaj mnie
W tęsknocie za tym, co dalekie
- zachowaj mnie
5. 1710 08:00
 Warmio moja
łzami się oblewaj
i boga, boga się wyrzekaj
wspominaj, jak śmierć pozbawiła życia prawie każdego
a było to roku tysiąc siedemset dziesiątego

w puste pola
w puste lasy
w puste miasta
w puste wsie
w pustych oczach
puste noce
wszędzie trupy
puste dnie

i bogatych
i ubogich
do jednego dołu
do jednego dołu
z pustych lasów
z pustych pól
z pustych nocy
z pustych dni
wszystkich was
wszystkich ich

w puste pola
w puste lasy
w puste noce
w puste dnie
do jednego dołu
do jednego dołu

i znów mór zapanuje
ze świata zabierze was
kochanków mór
na zawsze połączy
a dziecka od rodzicow
nic już nie rozłączy
a matka co dzisiaj
za dziećmi płakała
jutro w krainie śmierci
razem będzie z nimi stała

i bogatych
i ubogich
do jednego dołu
do jednego dołu
z pustych lasów
z pustych pól
z pustych nocy
z pustych dni
wszystkich was
wszystkich ich
do jednego dołu
6. Barczewskie noce 03:58
 barczewskie noce
ocean czasu
barczewskie noce
ocean samotności

ocean czasu przejść
by umrzeć we śnie
cela 12
pawilon 14

ja nie małpa
judasz zostaw
i zostaw mnie
cela 12
pawilon 14

ja nie małpa
judasz zostaw

ocean czasu
ocean samotności
by umrzeć we śnie
cela 12
pawilon 14

barczewskie noce - ocean czasu
barczewskie noce - ocean samotności
barczewskie noce - by umrzeć we śnie
barczewskie noce - by nigdy nie zasnąć
barczewskie noce - cela 12
barczewskie noce - pawilon 14

CD, Album, Stereo
Slipcase. Includes 4-page booklet.