martes, 30 de noviembre de 2021


1. When did you decide to put Kade Storm into operation? Why did you choose this name and what does it refer to?

The project began in the early 2000s, but it was very slow to develop in those early years. The choice of name is obviously eponymous, as I struggled to come up with something very distinct and original. As you know, with Extreme Metal, when it comes to artists, they tend to rely heavily on the macabre, mythology, fiction or even the occult to come up with alternative names. I've always been of the view that if one is going to do such, then one ought to know the subject they are embracing as a name, extremely well, and that's why I never quite adopted anything else other than who I am in name and person."

2. Although Kade Storm has been active since 2003, to date he has only released a couple of albums quite spaced apart in time, why is this lack of continuity when it comes to releasing music?

Unfortunately, I have this tendency to create a lot of unfinished and often unrealised ideas that I have to work my way through in order to have a fleshed out set of concepts that could then become albums. I've been stating recently that the 2014 release was largely a mistake, or at least not prepared correctly, and this is because it was predicated on older works that were inspired by older collaborations as opposed to my own personal vision. I've come to reject that album, which only makes the idea of Ascension being the first piece of work since I got started around 2003, even stranger. Paired with the fact that there have been a lot of other external commitments and events in my life in that time, it eventually took a fairly troubling personal event for this album to emerge. Perhaps this trend will change over the coming years.

3. Being only one person in charge of Kade Storm, how do you face the process of composing and recording your music? What is the biggest challenge you have had to face when taking this project forward? What brands instruments do you use to compose and record your music?

It can be a challenge, at least in terms of managing distractions and maitaining oversight of quality. I think the biggest impediment for me has been getting sidetracked from pursuing worthwhile ideas; I probably have over thirty tracks of entirely unfinished material. Much of it that will likely never be released, but serve as a point of personal reference.

In terms of equipment, I have a range of guitars from BC Rich, to Dean, Epiphone, Ibanez, Jackson,   and other brands and a bass from Maverick. I use seven string guitars and five string bass guitars given the tuning utilised. For my recent work, I've primarily used a BC Rich 7 string Warlock with the Seymour Duncan Invader pickup along with a BC Rich 7 string JR V with the Dimarzio Crunchlab. For drumming, it'll either be something I've programmed using recorded samples from an old Pearl kit that I used many moons back, or a similar kit microphoned a certain way to sound cavernous, blunt and heavy; I like that heavier, thicker percussive tone from all the instruments as they align together. In terms of amplifiers, again, I have a number at my disposal, but my main ones for use are the Randall Diavlo RD100H, along with the Randall V2 and in minor points, a Peavey 6505+. I tend to run a modeller, for the boost, EQ and noisegate effects with the amplifiers.

4. Black Metal with a strong Doom Metal component would be a more or less accurate definition of your proposal, especially if we focus on the content of your latest album "Ascension", how would you define the style of your music for those who do not? Are you familiar with your proposal? What do you intend to convey to the listener with your music?

It is, fundamentally, in terms of atmosphere and thematic, Black Metal, but it defniitely stands heavily on a Doom and Death Metal foundation. In terms of conveyance; I merely seek to create a very dark world of soundscapes that, within them, relay a number of thoughts that are both personal but also highly open to each person to draw upon their own meaning. I prefer that listerners find themselves lost in this world and deriving their own interpretation and menaing from the work.

5. Unlike certain one-member black metal projects that are often open to collaborations, either to be able to offer a concert or simply to give another vision to their sound, Kade Storm remains firm in its line-up. Is Kade Storm such a personal project that it is not open to this type of collaboration? What elements and styles influence you when defining the sound of Kade Storm?

This project is primarily centred around my own vision and catharsis. If I ever lend my input to anyone, it's as an unnamed contributor for session work or the odd writing idea, at least that's been the case thus far. It is indeed a personal project, but there have been points in the past where I have considered collaborating with others for the project, it's just that such collaborations never quite panned out in terms of the ideas being fully finished. Even the previous album, which I've grown to reject, had a number of tracks that were derived from prior collaborations and one track that was co-written by another guitarist and vocalist I used to work with name Rob Cavalo, who was also the former co-guitarist of the Groove-Thrash band, Social Head Removal.

6. In your lyrics you deal with themes, let's say "conventional" within a style like black metal, why is this theme for your lyrics? Is the music composed based on the lyrics of the songs or vice versa?

Yes, the central theme is quite conventional to this style and paradigm of music. The music is based on the lyrical content and vice versa; there's substantial synergy between the two. 

7. Who was in charge of designing the album cover, what does it represent and how does it relate to the content of the album?

The album cover was designed by Swedish artist, Dalila Belazi. She's done cover art for various Extreme Metal bands across the world, such as Profane Burial. However, in my case, her particular art work here was the perfect representation of the theme in question about the Fallen, the Fall and the Ascent.

8. The mixing and mastering of the album has been your responsibility. How do you decide to face this facet and what knowledge do you have to carry out this plan of your music?

I needed this entire process to be highly personal, as it all took place during an intense chain of arduous personal events in my life. I do have knowledge and experience in this area, but I also wanted to harvest a somewhat raw atmosphere within the production process.

9. “Ascension” was originally released in digital format, however with the passage of time it has also seen an edition in CD format by Narcoleptica Productions. How did you contact the record label to make this edition with them? Are you satisfied with the editing and promotion work carried out by Narcoleptica Productions? Do you consider this to be an important step for Kade Storm's career?

It was indeed originally just a digital release with no real promotion effort. Again, given the personal tribulations around this album, I was merely possesed and focussed on creating and producting the album, with no actual release plan or ideas on how to promote what was being released. To be honest, I wasn't in any frame of mind to deal with such matters. If anything, I just uploaded and it and then things just unfolded as they did. I was fortunate to have Andrey from Narcoleptica Productions take notice of the album and get in touch about possibly doing a limited CD run with which I am personally very satisfied. I also had a few PR companies such as Rogue PR and Against PR wanting to help, along with a good few European Alternative and Extreme Metal Magazines, such as Metalized from Denmark, as well as Orkus and Sonic Seducer from Germany, giving the album very honourable coverage via reviews and interviews.

10. Has the period of restrictions due to Covid-19 been a hard time for you when it comes to being able to record and offer music to the public? How did you experience that time as a band?

It wasn't too difficult, but again, given my particularly challenging circumstances, even the global situation was secondary to those events concerned. Yet I also had the personal leeway and equipment to manage much of this, even with the restrictions in question

11. London is a huge city, how would you describe the extreme metal scene of a city like the one it belongs to? How has this scene evolved over the almost twenty years that Kade Storm has been active?

I have been based in Skegness for a good few years now, so, I can no longer speak all that much to this question. Even when I was in London, I tended to operate in considerable isolation, or, if I was working on someone else's project, I'd maintain some anonymity as I prefer to let those projects and visions accomplish their own aims. As for the scene itself. London is one of the biggest hubs around; a lot of bands and ideas come and go through that city and I don't think that ever-changing atmosphere itself will ever change. Extreme Metal, though, will always have its own momentum regardless of locality, be it a village, town, city or metropolis.

12. How were your beginnings in music: first concerts you attend, first albums you buy? What happened in your life made you want to be a musician?

I think a lot of it was personal ideas and visions that I had to address through some means. I was also exposed to some of these soundscapes when I was very young, but then grew distant from them for a brief time only to return to it all a bit later. My earlier exposure was to various Thrash Metal and Extreme Metal bands and the more old-school British Hard Rock and Heavy Metal. That being said, while I definitely had a lot of bands that made me want to pursue music, it was having listened to UK Thrash Metal veterans, Solitary, and their gritty and heavy album, Nothing Changes, that gave me the singular drive to pursue my own sound and have it recorded. Seeing them live many aeons ago only cemented that drive. In terms of what I create, they're a very different band in terms of sound and style, given that they represent the Vanguard spirit of British Thrash Metal, but their work had that distinct inspiring effect. I continue to follow and support their work, of which there's plenty.

13. Which album represents to you the essence of black metal? What last albums have you bought?

I'd argue that there is no singular album or moment. The essence of Black Metal hearkens back to a time before the label or term even existed and is spread across numerous bands and projects. Having said that, I would probably place Bathory's “Under The Sign of The Black Mark” along with the works of earlier Celtic Frost, Hellhammer and even Sodom, as having provided the genre with its core essence. The rest was down to the Scandinavian bands that took things to another level from that baseline inspiration. The recent albums I have acquired are Daevayasna by the Norwegian-Persian band, From The Vastland, whose frontman, Sina Winter, has been doing some phenomenal work for the last ten years at the least. I've also been regularly listening to Solitary's latest record, The Truth Behind The Lies, as this band's inspiration to me, personally, cannot be stated enough. In addition, I've got the album End, by the British Death and Black Metal band, Ereskigal, which is just a demonstration in conjuring pure brutal atmosphere. I've also been listening regularly to the Horror SciFi project, Amygdolor, which has some punishing ambient Black Metal elements, as well as Beshenitar, which thrives on a very raw old school Black Metal sound and depressive aesthetic. Truth be told, there's innumerably compelling content out there for people to consume these days.

14. What future plans do you have for Kade Storm in terms of upcoming releases, concerts or reissues?

 There are always ideas to work on and develop from, though as of right now and the immediate long term, I am focussing primarily on supporting and promoting Ascension. 

15. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for Kade Storm fans this is the place. I hope the questions are to your liking.

Much appreciated. Thanks for the excellent exchange and the support. As for the fans and anyone interested. Feel free to give the music a listen on the bandcamp website and social media, which have been linked below.


Transilvania  ‎– The Night of Nights 12,99 €

Comes with both side printed insert
Limited to 350 copies

domingo, 28 de noviembre de 2021



Origen: Francia

Formados: 2019

Estilo: Black vanguardista

Temática: ?

Enlaces: Bandcamp y facebook


  • J. Batería y bajo
  • M. Guitarra
  • N. Voces
  • Visions chaotiques d´un songe halluciné EP 2021
Primer Ep de dos temas para esta banda francesa cuyos miembros proceden de la banda de black Croc Noir. Estos dos extensos temas que nos ofrecen son un viaje sónico repleto de diferentes emociones e intensidades. Partiendo de una base que podemos considerar como clásica si hablamos del black metal vanguardista de escuela francesa. Los dos temas se van enrevesando poco a poco, con ritmos no muy desenfrenados pero que saben echar mano de unos riffs enfermizos, muchas veces acompañados de ciertos arreglos que le dan un carácter atmosférico a la propuesta cercano a un mantra que sabe fluir también hacia terrenos más suaves ofreciendo un profundo contraste en el devenir de su propuesta. Los cambios de registro muchas veces se suceden de manera inesperada, acompañados de ciertas disonancias sutilmente ensambladas, todo ello sin una presencia preponderante de las voces, las cuales actúan en un segundo plano, con un componente ambient digámoslo así que permite que el protagonismo se centre en la instrumentación. El Ep acaba por trascender como dos piezas de sonido casi que embriagador, repleto de matices, con un ojo puesto en el sonido vanguardista, sin hacer abuso de elementos cargantes ni virtuosismo exacerbado, logrando fusionar otros aspectos como el atmosférico de forma más que correcta ofreciendo la posibilidad de transitar por diferentes estados de ánimo gracias a la duración de los temas. (8,2).

1. Visions chaotiques 08:30  
2. Songe halluciné 08:14  

Limited edition of 16 hand-numbered copies on a single-sided transparent black cassette

sábado, 27 de noviembre de 2021


1. If I'm not mistaken, we are dealing with a one man band, when did you decide to create the band? Why did you choose the name The Nightly Disease and what does it refer to?

1) Yes, you’re right. TND is a one-man band, although I was helped by my friend Tommaso Franco who played some piano parts.The project took shape in 2016 while I was working on a couple of riffs that I had in mind. I didn’t have a particular goal, I was just trying to develop them as instrumental concept album, record it and give a copy to some friends. But when I listened to the final master I was very satisfied so, I wrote to Naturmacht Production and sent the album asking if they were interested in releasing it. Robert (owner of NP) was thrilled and said yes. This is how TND and the first album “Smell of Burning Wood” were born. “The Nightly Disease” is the second album of the Norwegian rock band Madrugada. I like them a lot, especially that record and its dark sound. I’ve always thought it was a good name for a band. When I had to decide how to call my project I had no doubts.

2. Although The Nightly Disease has been active since approximately 2016 it has not been until the edition of its recent “Delicate White Sound” and despite having released its first EP in 2018, it seems that everything has taken on a greater dimension around this project, was this favorable response expected from the public and press?

2) No, it wasn’t. Usually I tend to have no expectations. I don’t know if things have taken greater dimension, but I’m grateful for all positive feedback.

3. “Delicate White Sound” stands out for itself an album that manages to transmit different moods and sensations in a fluid and elaborate way. How has the process of composing and recording the album been? What brands of instruments have you used for the process? composition and recording?

3) The process was the same as on the first album, more or less. After programming the drums I recorded a demo, spending a lot of time trying different solutions for harmonies and arrangements in general, then I started the official recording. Electric rhythm/lead guitars, keys, bass, piano and effects. This is the order.I preferred to record “Part 2” acoustic guitars at the Mile Road Studio with the right mics and just stay focused on the performance. At the end of the recording sessions I sent all the files to the studio for mixing and mastering.My brands are a PRS electric guitar, Marshall Mode Four amplifier and Huges & Kettner cabinet. Music Man bass guitar and Mark Bass amplifier, Yamaha and Nord keyboards (lent, not mine). Seagull and Simon & Patrik 6 strings ac guitars, Aria  12 strings ac guitar and Eko classic guitar. I use Cubase 10 and a Shure 57 mic to record the electric guitars and bass.

4. The sound of the album from my point of view consists of two quite different styles or parts, on the one hand we have a style close to the more classic atmospheric black with a fairly direct musical section and on the other a more intimate, melancholic style, managing to sound All this in a melodic way. How would the album describe the sound for those who have not yet heard it and what sensations does it intend to convey to the listener?

4) Not easy for me describe my music, but I think what you wrote is correct. The album is a mix of electric and acoustic melodies that create different atmospheres. Probably a melancholy quietness is the main feeling in the record.

5. The album is instrumental, despite this many sections seem to be built to be able to couple voices, why the decision of an instrumental album? At some point did you contemplate the possibility of having voices on the album?

5) TND is intended as an instrumental project. I've always been fascinated by instrumental albums, especially Mike Oldfield's. Tubular Bells, Ommadawn, Amarok, The Song of Distant Earth etc. are masterpieces. Projects like Wongraven, Lustre, Northaunt, Burzum inspired me to create TND. As for the voices, I didn't think of having them. I prefer to let the music "talk". This does not mean that I will never insert voices in my music. I consider them as an instrument so, if a song or a part requires it, I add it. But not the classic “Verse-Chours-Verse”, so to speak and nor for the whole album.

6. At what point was the decision made to mix and master the album at the Mile Road Studio? What do you think GIorgio Maraia has contributed to the final result of the album?

6) From the beginning. Giorgio has a long experience both as musician (he played keyboards for years in Riul Doamnei black metal band) and as music producer, recording and mixing albums for many bands. The first time I worked with him was in 2014 when he recorded the third album of my black metal band Hyling. In 2016 he mixed and mastered TND “Smell of…” album, doing a great job. I was sure he would do the same on “Delicate White Sound” too. Very professional and his mixing experience was fundamental to the final sound of the record.

7. Why did you decide to work for the album artwork with Flavio Biondani? Do you think that the album cover perfectly captures all the sensations that you intend to convey with your music?

7) Because, like Giorgio, he’s very professional. Flavio has released many artworks for bands, including Hyling. In 2016 he did the artwork and layout for “Smell of Burning Wood” and the result was amazing. Many people have appreciated it. For “Delicate White Sound” I had this idea of an abandoned scarecrow in a snowy and isolated place surrounded by woods and I explained it to him. Since I saw the first drafts of the cover image I had no words, he immediately achieved the goal by doing an incredible job. Absolutely, the cover captures exactly everything I mean and perfectly represents the music and concept. 

8. Naturmacht Productions has taken care of the album edition, how did the possibility of working with them to carry out the edition come about? Are you satisfied with the editing and promotion work carried out by Naturmacht Productions?

8) Yes, I am very satisfied. Naturmacht is doing a great job for The Nightly Disease. As I said before, Robert was enthusiastic about TND from the beginning and when I told him I was recording the new album he told me he wanted to release it, even though he hadn't heard from it yet.

9. The Italian scene has a good handful of established bands that continue to endure the type, however it is also true that for some time now different projects have been emerging that bring new air to the scene. How do you think The Nightly Disease fits in? In all this process, how do you see the health of the Italian black scene?

9) I don’t know how TND fits, maybe listeners can tell. Personally I don’t think my music brings anything new in the scene. It’s nothing so original or particular. It’s only what I have in mind and I enjoy recording it. Someone like it, someone don’t. Obviously I’m very glad when people appreciate it. The Italian scene is in very good health. I don’t follow that too much to be honest, but the underground scene is full of great bands.If you and your readers want to know more about, I recommend the “Museo Del Black Metal Italiano” YouTube Channel. You can listen to many albums, reviews, interviews etc., it is really well done.

10. How was the editing and the entire process surrounding the album affected for better or for worse, coinciding with the restrictions imposed by Covid-19?

10) Like many other bands and musicians, I too had problems finishing my album. As soon as I completed my parts in January / February 2020 Covid arrived and we went into lockdown. I had to stop and wait for months to meet Tommaso and record the piano, and Giorgio and Flavio for the rest. A complete mess. The only good thing is that I was able to work further on some details. I sent the master to the label at the end of 2020, but Naturmacht was also on standby with the releases so the delays piled up. That's why "Delicate White Sound" didn't come out until last June.

11. How were your beginnings in music: first concerts you attend, first albums you buy? What happened in your life made you want to be a musician?

11) I saw my first concert when I was 9. My parents took me to see the American country/folk singer John Denver. Later, when I was a teenager, I approached many underground rock and metal concerts. Then some festivals and concerts by great artists like Pearl Jam, R.E.M and so on. The first albums I had were Europe's "The Final Countdown" and Neil Young's "Hawks & Doves", on tape. Then Iron Maiden, Mötley Crüe, Cinderella, Poison and many others vinyls. Thanks to my family I have always listened to a lot of music, ever since I was very young. I think it’s in my DNA. There was a classic guitar at home and at the age of 16 I picked it up and started learning chords.

12. Which album represents to you the essence of black metal? What last albums have you bought? 

12) For me the ones that most represent it are “Hvis Lyset Tar Oss” and “Filosofem” by Burzum. When I listen to them I feel like I'm in a snowy forest in the winter darkness. But I consider the whole Norwegian scene of the early 90s to be the essence of black metal. At that time it had a profound impact on me and many more records should be mentioned. The last albums I bought are "UFO" by ORB and the last two by Coldplay. 

13. What future plans do you have for The Nightly Disease in terms of upcoming releases, reissues, etc? 

13) I hope there are the right conditions and inspiration to start working on new music soon. I have some material to work on, but now it’s too early to know if and when a new album will be released for sure.

14. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for fans of The Nightly Disease this is the place. I hope the questions are to your liking.

14) Yes, they are. Thank you so much Black Metal Spirit for this great interview and to all the people who support The Nightly Disease. For those wishing to listen to TND albums or those of my black metal band Hyling, you can find them here:




Blackevil ‎– The Ceremonial Fire 15,99 €

Debut album of German Black thrash insanity. Special edition on black wax, includes a poster, download code and sticker. Gatefold!

viernes, 26 de noviembre de 2021



Segunda entrega para esta one man band finlandesa que tal vez a perdido esa sorpresa, inmediatez o frescura presente en su primer álbum, pero que sigue sonando inmenso en lo que de una manera sencilla puede ser definido como black escandinavo de segunda ola con algunos elementos más actuales. Una definición que por otra parte resulta del todo injusta ya que la riqueza musical del álbum esta fuera de toda duda, partiendo de una base del todo sencilla y por que no accesible que logra incorporar un nutrido grupo de elementos propios que le imprimen un fuerte carácter al resultado final del álbum Entre ellos podemos encontrar un gusto por usar capas de riffs superpuestos con claras intenciones de lograr un sonido digamos que crudo a la vez que clásico pero que también saben fluir en determinados momentos a terrenos más melódicos que profundizan en secciones como la oscuridad y la frialdad, aspectos que se ven reforzados por una línea de teclados en segundo plano. El ritmo va jugando por un lado con los mas agresivos y directos en donde la propuesta se muestra concisa y directa, con otros que fluyen de manera más distendida pero que son acertados para ese aura más clásica que emana del sonido. Algunas pinceladas progresiva o pagan en referencia a sonido clásicos y todo ello completado por unas voces en clara consonancia con un vertiente clásica del género con un gusto por secciones crudas y heladoras del todo reconocibles en el black de décadas pasadas aderezado por una ambientación con regusto a clásico. (7,9).

Werewolf Records

1. Virtus Tenebris 02:32  
2. Purging Nefarious Vortex 04:35  
3. Of a Moribund Vision 05:10  
4. The Key of the Moonpiercer 06:55  
5. Empowered with Battlespells 06:39  
6. Oracles of War 04:44  
7. In Perennial Twilight 08:06  

jueves, 25 de noviembre de 2021



Origen: E.E.U.U., Philadelphia

Formados: 2017

Estilo: Black melódico, death

Temática: Filosofía y Nietzsche

Enlaces: Bandcamp


  • Josiah Domico Guitarra y voces
  • Lydia Giordano Guitarra

  • Zarathustrian Impressions CD 2019
  • Return of the Sophist CD 2021

Segunda entrega para este combo estadounidense que nos ofrece un trabajo de los más completo dentro de un estilo que podemos definir como black melódico con influencias death, aunque también hay lugar para estilos como el metal progresivo. Josiah y Lydia cuentan con colaboraciones al bajo y a la batería para acabar por dar forma a un álbum realmente inmersivo, en donde el oyente se va sumergiendo en la densidad y a veces enrevesado de la propuesta. Un sonido construido y sustentado por el tremendo trabajo a la batería de Pendath con un sonido denso y profundo, elaborado por momentos con variedad de registros pero sabiendo desenvolverse con soltura en terrenos agresivos pero que se muestra implacable en los medios tiempos y en registros más comedidos. Los riffs también merecen ser destacados por la variedad de los mismos capaces de ofrecer diferentes estilos y registros, repletos de enormes desarrollos y de elementos propios tanto de un black melódico, como también progresivos un death llamémoslo técnico, con muchas influencias en cuanto a estructuras que sugieren influencias progresivas y sin renuncias del todo muchas veces a un carácter épico. La temática y por ende la música se inspira en el nacimiento de la filosofía y todo el álbum logra trasmitir emociones encontradas dentro del sosiego o la meditación, acompañado todo ello de unas voces directas y agresivas que saben dejar espacio y retirarse a un segundo plano cuando es necesario para ceder protagonismo a toda la épica de la música. Un álbum que es todo un descubrimiento al intentar y conseguir ofrecer un amplio abanico de elementos dentro del metal extremo. (7,8).

1. Dithyramb (Intro) 01:33  
2. The Way to Delphi 04:19  
3. The Cave of Gaia 03:41  
4. Epistemology Reduced to Absurdity 04:04  
5. The Delphic Temple Part I - Consulting the Pythia 05:17  
6. The Delphic Temple Part II - The Oracle's Response 04:33  
7. The Delphic Temple Part III - The Resolution 01:50  
8. Hemlock 05:26  

sábado, 20 de noviembre de 2021



Origen: Noruega, Hønefoss

Formados: 1995

Estilo: Black, thrash

Temática: Antijuedocristianismo, blasfemia, muerto, odio y satanismo

Enlaces: Deezer, facebook y spotify


  • Enzifer Guitarra
  • Malphas Guitarra
  • Sorath Northgrove Voces
  • Uruz Batería


  • Exorcism of the Holy Ghost Demo 1997  
  • Desire for the Dead  Demo 1998  
  • Deathfuck Recopilatorio 1999  
  • Kill the Children of God Recopilatorio 2000  
  • Profane Prayer CD 2003
  • Blasphemy EP 2006  
  • Blasphemous Exorcisms - The Years of Nefas Recopilatorio 2014  
  • Exorcism of the Holy Ghost / Desire for the Dead Recopilatorio 2020  
  • Stillborn Messiah Single 2021  
  • Desecration Rite CD 2021
  • Deathiah Manifesto Split 2022
  • Total Blasphemic Desecration EP 2023
Segunda entrega para esta veterana banda de la escena black noruega que se presenta con solo un miembro de su formación original. Este trabajo llega casi dieciocho años después de su primer álbum y aunque en esencia del sonido black/thrash infecto y underground sigue estando presente, no lo es menos el paso adelante que se ha dado en la búsqueda de un sonido digamos que más pulido. El álbum se abre con una intro un tanto desconcertante pero pronto se da paso a un buen número de riffs agresivos y que incluso que guardan en esencia un componente clásico dentro de lo que se puede definir coma thrash metal engranados perfectamente con elementos que recuerdan aun black primitivo y sucio. Las voces suenan crudas y directas manteniendo el pulso en un estilo que se mueve también por un terreno bastante underground. Lo ritmos rápidos se van sucediendo a lo largo de todo el álbum, sin que esto sea impedimentos para que cierto tono melódico se vaya imponiendo a lo largo de las composiciones. Los temas en un principio pueden lleqar a presentarse como sencillos, casi que vulgares, sin embargo el avanzar de los mismos logra discernir un excelente trabajo tanto en estructuras como en composiciones, conservando en esencia un crudo black/thrash que se ha vestido de capas de instrumentos para lograr un sonido que tiene un pie puesto en lo más tradicional del black/thrash y otro en ofrecer una mayor amplitud de registros en donde un black más definido acaba por imponerse de alguna manera sobre el los sonido thrash. Un álbum que nos trae a una banda que no ha perdido el punto de apoyo si hablamos de sonido black noventero de las bandas noruegas en donde el punk y el thash iban de la mano, pero que también han sabido dan un paso adelante en la búsqueda de adaptar un tanto su sonido a los nuevos tiempos. (8).

1. Glorification of the Dethronation 00:59  
2. Bloodbound Militia 03:15   
3. Stillborn Messiah 05:08  
4. The Vulture Lord 04:48  
5. Diabolical Intervention 03:54  
6. Prepare the Coffin 04:03  
7. Beneficial Martyrdom 04:33  
8. Burning the Kingdom of God 05:24  
9. Perverting the Bible 06:16  

viernes, 19 de noviembre de 2021



Origen: Italia, Verona

Formados: 2016

Estilo: Black atmosférico

Temática: ?

Enlaces: Bandcamp y facebook

Miembros: ?


  • Smell of Burning Wood EP 2018  
  • Delicate White Sound Part 1 Single 2021  
  • Delicate White Sound CD 2021
Primer larga duración para este enigmático proyecto de procedencia italiana que se adentra a lo largo de las cuatro pistas que conforman este álbum por un terreno de black atmosférico perfectamente elaborado. Estamos ante un álbum que sorprende, ya que a pesar de ser instrumental parece que contiene las estructuras marcadas para que las voces convivan con la música. A pesar de ser cuatro los temas que contiene este trabajo también es importante destacar que todo el álbum se siente como una única pieza que fluye de forma acertada transitando por diferentes intensidades y estados de ánimo. Hay que destacar por un lado la vertiente más black de su sonido con protagonismo de guitarra y batería en una sucesión bastante directa que muchas veces tiene la facultad de traernos claras influencias del black atmosférico más clásico. Al mismo tiempo no desmerece tampoco los pasajes más influenciados por sonidos de sintetizadores que se vuelven mucho más intimistas y cercanos, aunque considero que lo que mejor funciona en este trabajo por un lado son las diferentes intensidades, siendo capaz de fluir desde secciones mucho más intimas a otra más agresivas y por otro lado también el componente melódico que de alguna manera acompaña al oyente en todo el recorrido y por último la variedad de sensaciones que logra trasmitir sin perder nunca el tono melancólico. Un interesante primer álbum de sonido muy conseguido a tener muy en cuenta. (7,8).

1. Delicate White Sound part 1 18:49  
2. Delicate White Sound part 2 05:30   
3. Delicate White Sound part 3 13:10   
4. Delicate White Sound part 4 01:47  

- full colored jacket
- full colored, heavy inner sleeve with lyrics, info and impressions
- two sides printed A2 poster
- two stickers
- 180g blue vinyl, lim. edition
- playing time over 40 minutes
-description below:
‘Heljarkviða’ is meant to depict the Old Norse kingdom of Helheimr; a place for the slain who suffer a ‘helsótt’, a fatal illness. They are the ones who are not chosen to travel to the joyful and venerated halls of Óðinn and Freyja, but are instead taken to the kingdom of death, to Hel. It was in early 2014 when Árni (Carpe Noctem, Wöljager), Stefán (Kerbenok, Wöljager) and Marsél (Helrunar, Wöljager) initially started to compose music with the intention to set this gloomy mythological realm into music. Caught by the dismal atmosphere that surrounds this interesting place, Stefán wrote the lyrics by mainly focussing on two different poetic sources from the Old Norse corpus: the Eddic poems, of which first and foremost the grand late tenth century Old Norse poem Vǫluspá served as the most important reference, followed closely by poems of contemporary medieval Icelandic warrior skalds such as Egill Skallagrímsson or Gunnlaugr ormstunga and their mythological battle descriptions.

Hel and her same-named kingdom is ambiguously displayed in the primary sources, which is most likely due to the fact that descriptions of the place itself are much older than the ones about the goddess. It is because of this that neither Skaldic and Eddic poetry, nor the impressive corpus of medieval Icelandic saga literature, provide a coherent picture of the place and the potentially numinous figure. The lyrics for this record, therefore, are a combination of what is known about both aforementioned aspects of Hel, set into a mythological telling of a warrior’s death and afterlife.

The text describes a journey of a doomed warrior who fights with his band of Vikings and dies in a blood-driven ecstasy on the battlefield. After his painful death, his body sinks into the blood-covered soil and travels through the chthonic wastelands below, only to arrive to a place where all other slain bodies rot together under the reign of Hel in and around the bleak hall of Éljúðnir, a monstrous building made from the spines of poison-dripping snakes; a place beyond the spheres of time. Through the treacherous shot guided by Loki, Baldr, the brightest of all gods, is sent to Hel and the worlds begin to collapse. Now, at the beginning of Ragnarǫk, the undead people start to wander back to the surface of life to fight at the final battle at Vígríðr. The grand depiction of Ragnarǫk in Vǫluspá gives the most detailed description of this event and its disastrous conclusion in fire when Surtr cleanses the earth with his flaming sword Surtalogi. The slain bodies appear, however, again after all life has been extinguished. Carried by the wings of Níðhǫggr, they fall down to the revitalizing earth to bring back their very own mythological phaenomenon of death.

It is our hope that some of this apocalyptic atmosphere is transmitted through the music, lyrics and visual arts of this very special release.

miércoles, 17 de noviembre de 2021


1. When did you decide to create the band? Why did you choose the name Opprobre and what does it refer to?

I formed the band with Vincent L. in the middle of 2015. Quickly Clément R. joins the band and we’ve begun to work on our first songs. The name Opprobre deals with the idea of bringing shame on someone, letting him alone. When we wrote the first lyrics for the band, we found that this name fits really well with the introspective aspects of the texts and we’ve kept it.

2. How was the composition and recording process for your new album? How is your way of working on the new songs? What brands of instruments do you use to compose and make the recordings?

For “Fragments de Destinées”, I composed most of songs shortly after the release of our first album “Le Naufrage”. However, we took our time to slowly shape the definitive forms of the tracks. For exemple, “Cendres”, the final track of the album was slightly shorter and I’ve created the intro piano part several months after that. When I compose, I’m alone most of the time to capture a certain introspective feeling with a guitar or a piano.

For the recording process, we recorded the guitars, synths and bass in our home studios and we booked some studio sessions for the drums and for the vocals. For the drum, we’ve worked with Brett Caldas-Lima (Tower Studio) and we’re really satisfied with the results ! He also did the mastering of the album.

3. Elements related to post-metal and also shoegaze are present in the sound of “Fragments de destinées”, what bands and styles have helped shape the sound of this album? What influences can the listener recognize in the sound? How would you describe the sound of the album for those who have not heard yet?

The sound of this album was inspired by some post-metal and post-rock recordings such as “Sunbather” by Deafheaven, “Ecailles de Lune” by Alcest, some old Ride or Slowdive albums, “F#A infinite” by Godspeed You! Black Emperor and some Opeth’s albums like “Blackwater Park” and “Ghost Reveries”. We really love the contrasts between the different atmospheres, between the brightest and softest parts and on the contrary the most tortured and aggressive parts. Every of these albums have a particular way to express it and, with Opprobre, we want to express it on our own way.

4. Being a group of five members, I suppose that the influences of each member of the band will be different, is it very difficult to reach a consensus when it comes to shaping and shaping the sound of Opprobre? of sight and influences affects a greater richness of sound for the band? How do you consider that the sound of the band has evolved between your two albums?

In reality, even if some influences differ between all of us, we can easily agree on a main direction. We are all very big fans of black, prog and that links us on the same path. For example, we are all fans of Opeth, Alcest etc. The small differences between us come sometimes from the way we bring a little influence on the played parts, especially when we prepare the songs live. Between the two albums, I would say that the progressive aspect of the music was more emphasized. there are many more complex parts, interweaving between the guitars, the different layers of pianos and orchestral arrangements, the walls of voices etc.

5. Vincent Lievre and Olivier Dufresnoy are in charge of writing the texts of your songs, texts that are somehow inspired by writers such as Victor Hugo. How is it done and how are these texts related to your music and in what way? Can you make them fit?

For “Fragments de Destinées”, the text and the vocal parts were the last elements we’ve crafted during the composition process. In general, We prefer to immerse ourselves in the atmosphere of the pieces and to let us impregnate by these nuances before writing texts.We wrote the texts in a permanent dialogue in order to find the best ways to formulate the ideas we wanted to evoke.The majority of the texts of the songs have one or more quotations from romantic authors (Poe, Hugo etc.) which serve as a backbone and guideline to the themes of the songs.From these quotations, we write our texts by letting us guide by the atmosphere and we work and refine them then as the stage of composition progresses. Some texts as the one of “Cendres” have been completely rewritten during this phase compared to the first drafts to better stick to the solemn atmosphere of the songs.

6. Who was in charge of the album cover design, what does it represent and how does it relate to the content of the album?

The cover was made by the Austrian illustrator Irrwisch.When we got in touch with him, he asked us to send him the lyrics of our songs (which we had to translate entirely into English for the occasion) so he could get into our themes. From there, he proposed a figurative approach. Since the album deals with themes such as the collapse of civilizations through the experiences of two individuals. These experiences mix their doubts, their hopes, their expectations and their mistakes which can be symbolically represented by fragments of broken glass that show all the complexity of the paths of life.

7. Most of you come from Montpellier, what can you tell us about the black metal scene in your place of origin and how does a band like yours fit into the French scene with a sound that has more to do with it? with Alcest's proposal that, for example, the groups of the black legions of the nineties?

In France, we’ve got a really diversified Black metal scene. It’s really changing since a few years already, between the development of bands with a blackgaze tendency directly inherited from Alcest's sound, Amesoeurs, Les Discrets... Some more experimental bands closer to the sounds of Deathspell Omega, others more anchored in medievalist influences like Darkenhold. There are really a lot of different microcosms of influences and approaches!

Concerning us, I would say that we are at the crossroads of several atmospheric inspirations linked to the blackgaze movement but also including more inspirations close to the prog' scene. The inspiration of bands like Opeth is integrated in our music with others more classical for a black metal band. In Montpellier, I don't know many other bands in our style in recent years. It's either in a more classical movement, or more occult in terms of black metal.

8. For a band like Opprobre, used to offering concerts, I suppose the period of restrictions due to Covid-19 will have negatively affected them in this regard. How did a band, during this time, how did they deal with this situation with the recording of a album in between? How did you keep in touch with your followers?

The period of lockdown and shutdown caused a delay of about a year in the release of our album compared to what we had originally planned. It also completely scrapped the idea of a tour following the release of the album... But it also gave us time to evolve our approach and to create other projects and other compositions. The first confinement has allowed us to create what will probably be the keystone of our next album and has given us more time to think and renew our musical proposal! It also allowed us to take a step back on the live show and on how we wanted to do it in the future. We have a lot of projects at this level with notably a desire to develop the immersive aspect and to play even more on the contrasts. Maintaining a link was not necessarily obvious but fortunately the few opportunities of rehearsals during these periods when we were not fully confined and the period of promotion of the album were the occasion to maintain a certain link with the listeners in order to wait until the return to a more normal state.

9. The Klonosphère record label has been commissioned to carry out the physical format edition of “Fragments de destinées”. How is contact with Klonosphère to carry out the album edition? Are you satisfied with the editing and promotion work carried out by Klonosphère?

The contact with the Klonosphere is going very well, we are very happy with the promotion and distribution campaign they have done with us for this album. They gave us precious advices, recommendations and we worked together in order to promote the album during a period where it was complicated because of the lack of concerts. They also allowed us to speak with a lot of webzines and specialized journalists in order to develop the approach of our music on this album, always with extremely sympathetic and motivating people for a young band like ours. We are really glad about this collaboration!

10. How were your beginnings in music: first concerts you attend, first albums you buy? What did you do in your life that made you want to be a musician?

Since I was a little kid, I've been very interested in the arts (especially drawing) and in depicting the inner worlds that were going through my head. I spent a lot of time discovering music at the same time as I was drawing. The very first album I bought was Iron Maiden's Brave New World, an album that has always touched me because of its epic power and at the same time its atmosphere that depicts deserts as well as oceans (in my mind). The large instrumental parts on this album have always made me imagine great journeys and this feeling is what I want to recreate, I guess, in the most atmospheric moments of our songs... Later on, I discovered bands like Pain of Salvation which have marked me even more on this " whole " artistic immersion, the link between images, texts and music.

The very first concert I did was in 2010 when Motorhead came to Toulouse, it was a real blast. Discovering the world of the live shows with this synergy between the music delivered by the musicians and the energy of the public was something really powerful in terms of feelings. It really impacted me and gradually contributed to forge my desire to practice music and express something through it.

11. Which album represents for you the essence of black metal? What last albums have you bought?

One of the albums that represents the most black metal for me is the album “In the Nightside Eclipse” by Emperor. I find that it delivers a really deep atmosphere, as much rage as introspective with extremely visceral, tortured riffs and at the same time with a very significant musicality. His successor is also really astonishing, it's hard for me to choose one without mentioning the other. Moreover, for me another band that represents the polymorphic approach of black metal is Ulver with its will to distill its universe without being constrained to expected and heard codes. A good example of that for me is "The marriage of heaven & hell" with its hybridization which leans towards the trip-hop : To sound Black Metal, it also means play with the expected codes and not fear to evolve your sound.

The last black metal album I bought was "To Lay Like Old Ashes" by Austere, I took the opportunity of the vinyl reissue to acquire this monument of depressive black metal. I warmly recommend it to all those who like dark, skin-deep atmospheres and glimpses of hope in the middle of an ocean of opaque darkness!

12. What future plans do you have for Opprobre regarding upcoming releases, concerts or reissues?

We are currently working on new material for an upcoming album, the demos are taking shape and we are extremely excited to get back in the studio to bring these new songs to life! We are also working for our return on stage with a new line up and a new setlist. We are extremely excited to finally be able to play the tracks from "fragments de destinées" on stage!

13. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for Opprobre fans, this is the place. I hope the questions are to your liking.

Thank you a lot for these questions! It was a great pleasure to take the time to develop a bit more our approach on "Fragments de destinées" and we are extremely excited to perform it on stage.



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